Jamie Metzger

Shoot super 16.

Ugh.

white shirts outside are never a good idea for any format, without the proper grippage.

Any idea's? I've tried going into phase and synchro, but I never find an absolute cure. I can get close though. And yes the ballasts are flicker free. This has happened on multiple shoots.

I have a 30-day term agreement on my invoice. I just worked for a company that has a 45-day. It sucks, but whatever. To find out when I should recieve my check (or start charging interest), I used this nifty calendar calculator to make it much simpler: http://www.timeanddate.com/date/dateadd.html Very straight forward; but upsetting to realize that june 5th is my expected payment date :( FYI, I added this date to my google calendar, and set a 7 day reminder, so when I get the reminder, I can send the company a reminder....this is awesome.

love the flare at the beginning of the clip. You are going to have to tell me more about your "looks" in shake. I like that Idea.

http://vimeo.com/4179831

http://vimeo.com/4172835

Do you have a good workflow Chayse? I'm going FCP - Color - FCP export. I want to keep it simple. No need for edl's (yet)

Alright, I have something that is "acceptable". Took about 8 times messing with Mpegstreamclip to get the settings where I need them to be. I had to boost the sat and contrast, and I exported an h.264. The footage was 4k; I imported natively into FCP (as opposed to Pro Res). Made my edit, sent to color, colored, sent back to FCP and exported a Pro Res 422 HQ master copy that is 500+mb for a 1 minute video! I used this file to make my 98MB H.264 file for upload to the web. I'll post a link to the video when it's up. Thanks guys. the main menu using mpegstreamclip: And the Contrast and Saturation Adjustments:

I understand that the RED is 5000K, but I'm thinking that there will be an abundance of blue for this shoot, and I would like to be prepared. I'll have one regardless. I was on an outdoor cloudy shoot with the red, and there was tons of IR and we didn't have a filter. I had the kelvin up to 10,000K and it still wasn't warm enough. Jamie

Are you talking about getting a small crack in it, like a windshield, and it spreading during the shoot? Interesting point. Did you address the IR filter need?

http://www.hemmy.net/2007/07/15/underwater...-kanazawa-city/ We are building a 12x12 room with 3/4 inch plexi holding 1-2 inches of water above us. The performers will be underneath the plexi, no one will be on it. We will be silking the sun, and using a 6K to augment. I'm unsure if I will need an IR filter (or an 85) because of all of these variables. Any ideas would be great. Thank you Jamie

I have tried 1.8, 1.2, 2.2... no luck.

Copy that, I'll have an 85 on standby, but considering the red is 5000K balance, this might be alright?

Definitely seems like the gamma curve has been effected as well. This is why I can't beleive that "trial by error" is a reasonable solution. The adjustments you make in Compressor/FCP when you save as a quicktime movie show you an unrendered image that is 50x50 pixels, and there is no calibration....it's frustrating. I'm still working on this.

I shot this in pacifica, the last exit before you hit the curvy part of the 1. Linda mar. That's cool if your friend lives down there. Looks like such a cool place. I haven't been down there yet, but I like going to check out the view. As for the exporting. I've tried almost every codec; really just to see quality wise, but in compressor it shows the new codec with the same looking saturation as the origional in the split screen. I just tried boosting the saturation from 100 to 150 and I got this: I wouldn't call it better, but it does have more saturation. I don't like adjusting such a critical part of my image, by blindly guessing. Any idea sats?

Also, an option to specificy your codec and quality and the MB/GB size you would like to stay UNDER would be great. Mpegstreamclip doesn't seem to have that option.

Hey Saul, Thanks for the response. I have been told that by a few people before, and I was really hoping that it can't be true. I understand that my color space is changing when I compress, but is this the only road to do trial and error?

Shot on RED, Colored in Apple Color. I'm trying a whole bunch of different codecs through compressor and all of them come out less saturated then my project file. I expected this, but not as much. I haven't found a solution yet... Any ideas? I've tried having my sequence codec setting at 10bit uncompressed, proress 422 (hq), and a few others; redcode does not work.

Don't be mislead; we are shooting a video under 1-2 inches of water; see link below. The set is getting built outdoors, and from what I've heard, we will be silking off the sun, and using a 6K to light the top of the water. The band will be below the water where camera is as well. No on is going on top of the water. There will be 3/4'' plexiglass holding the water above our heads. We shouldn't come in contact with any water all day. I'm wondering, will 1-2'' of water necessitate the use of an 85 to warm things up a bit? Should I be worried about needing an IR filter? Let me know if I need to explain further. Jamie http://www.hemmy.net/2007/07/15/underwater...-kanazawa-city/

dont know if you want to have them in the frame or not, or use UV active materials; but here is a link to a video we shot recently that has both: http://www.old.etypical.tv/watch/Radiator_large/ Everyone on CML said to trust your eyes, in regards to exposure for UV reflective tape, and they were right. The grid on the floor was UV tape, and we had 3 400w Blacklights...can't remember the name of them.

a Toyota Tacoma with a rack in the back would be awesome for a grip ( i assume you are one because of the section you posted this in). The rack would make great mounting points and would let you store track and ladders up there. Also, tacomas can be found used for a good price, and they will last forever with routine maintenance. Get a gear box for storing your tools, and you'd be in business. If you get a 4x4 v4 it will be much cheaper than a v6, and people won't ask you to haul the HUGE lights with a v4 :)

I wish I had them on a recent shoot. Outdoors, I was pusing the Kelvin to 10,000, and the image was still looking purple, especially in the clothes of the actor.

this thread is useless without visuals.