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etiennecaron

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    Cinematographer
  1. We will shoot with the Red camera a video clip and we cannot shoot 29.97 fps in 4K since we need the Drive and we only got the compact flash that only allow 23.98 or 24 fps. We decide to shoot 4K (not 29,97 3K) in 23.98 fps and in post add the pulldown to reach the 29.97 fps. We did somes tests on FCP and we see cleary the duplicate frame and its not natural. What do people do in telecine when they shoot a video clip in 16mm, 24 fps, and they convert it to NTSC 29.97 ? Its look so natural, i dont understand that i cannot do the same with my Red footages convert to ProRes for exemple. Anyone have a secret to do the smooth conversion from 23.98 to 29.97 fps in post ? thanks millions times !
  2. http://www.panasonic.com/business/provideo...X200-dvd_hd.asp Ive read that on Panasonic www you can order somes DVD with DvcproHD clips. I Guess that DVD you can order Its a introduction to HVX200 and there is some footage in DvcproHD to try in FCP. Its a way to Panasonic that their workflow work fine. Dont want clips absolutly. Stills is fine, its just to see how the codec (8 bits) can handle color correction. thanks
  3. We plan to transfert our short film shoot in s16mm in Panasonic DvcproHD for online editing and the Dop want to see how far can he color correct the images by using DvcproHD native images or clips. I know thats not the same thing as we plan to do *(16mm to DvcproHD is not like Varicam and the way the footage will look from the Panasonic's camera) but guess it will bring a good idea what we can do and cannot do if we can download somes natives DvcproHD footages. I know we can order a DVD from the Panasonic Web site with dvcproHD clips ready to import in FCP, but i,m from Canada and its only for U.S... I,m wondering where on the net i can download clips or images in DvcproHD (shot with a Varicam for exemple) that i can play with. thank you.
  4. First= English is my second language Second= Lab would have the best of both world (analog and digital) by allowing film transfert to HDD in whatever format you want (tapes is dead btw, NOT FILM) and in this case, people will shoot more s16mm and 35mm and not go half-HD with HDV cameras or real HD stuff. Third= Totally agreed with you about the business situation... but you got to be ahead of your time. Lab sould hear what customers want, not what SONY or whatever big company want them to do... Direct to disk just like Bonolabs do! Thats all i want... got to know what is the price for DvcproHD transfert there, but i'm sure at the end its more cheaper and it doesnt sound like begging... just receiving the technology available of 2006 ;-) à la prochaine...
  5. Its been 7 years that i'm working on movie set and i know that everyone want to make money and things are expensive... from the neighbors who want "extra" charge because he ear that the production got a lot of money to the simple "Wood clip" became expensive when it get the "made for film production". The point of DvcproHD is i'm allowed to do the Online process at home and will save money at the end. I'm not a post-production guru since its my really first project in s16mm editing. So when i explain to the lab that the film got a 5,000$ budget (2,000$ in post) who came directly from the director's pocket (because she live with her parents since 2 years to save money), they dont tell me the cheapest workflow to go for not busting the budget and since editing is the last wagon of the train... i dont want to tell my director that she dont have enough money to do the "Online" in HDCAM at the end and got nothing to show ! And got the feeling that the lab want to do money... as everyone i know... but by making money by selling tapes and try to find way to tell me that i absolutly got to use their "online" editing suite because it will pay the expensive HD VTR. When i ask for transfert directly to hard disk, they said they can do that, but its only for their editers at the "intern" of the company. What piss me off, is the lab know we got to find this money, because its the last stage of 12 months of hard work from the first day of the script to the last day when we will ouput a master in HD... the lab know that filmmakers are crazy people who are not afraid to sell their car and house to make their dreams come true... nyways, will follow your advice because it make sens... make a DVD from the DVcam transfert and wait to see if the film find is way to festival and see if we can have access to money via public institution who give money to cultural project. thanks again for the advices. fillmaking is expensive from A to Z... because she's a whore ! ;-)
  6. Thanks for the andswer... but my final goal is film festival projection that allow digital screening and guess that it will be alright to do a straigh telecine to DvcproHD, even if its not 100% 24fps compatible. I want to do the Online process at home for low cost... thinks is its not a standard to have a Panasonic DvcproHD deck at lab service here in Montreal Canada... there is no demand and they do not have one... got to rent it, still really expensive at the end. fillmaking is expensive from A to Z... thanks again.
  7. The director of the short that i'm going to edit ask the lab for a price's list. So they come with that list in a workflow that you edit offline in DVCAM and use an EDL to reconnect the footage for a Online editing and color correcting. I was just wandering if the DvcproHD workflow (as mention previously) make sens since i can have access to a G5 well equiped for DvcproHD's editing and i wanted to know if s16mm transfert to that codec will be too much and we'll loose somes 16mm film quality. What i'm sure is, i will not be able to do extreme color correcting since DvcproHD is 4:2:2 in color sampling and i will have to deal with noise i guess. But in a sens, i know that the Panasonic varicam is using the same codec and its might be well when youre tight in budget... i'm waiting for a new price's list from the lab... they seems not too open to that "workflow"... they want to do money as everyone i guess. thanks again
  8. I'm gonna be editer for a first short made in S16mm by a young filmmaker. Here the price for the post that the Lab (Montreal, CA) bring me : 1- FILM PROCESS 2400' of 16MM + cleaning = 384.00$ total = 384$ 2- RUSHES TRANSFERT Film transfert techlight 16mm SD = 720.00$ Synchro SD = 108$ Betacam SP's tape (30 min.) = 25$ Disquette 3.5" = 2$ total = 855$ 3- MASTERING SD (ONLINE) FCP Online SD (4 hours) = 500$ Color correcting SD (4 hours) = 800$ Titles creation (4 hours) = 400$ One Digital betacam's tape = 38$ total = 1738$ GRAND TOTAL = 2977$ Thats way too much for the production, because the budget of that short (around 20 min.) is 5,000 $ So i plan to do: 1- A 16mm techlight rushes transfert in DVCPROHD. (with timecode and keykode burn in the black stripe area) 2- Edit the whole movie ONLINE in FCP able to handle the workflow. (with a AJA Kona 2's card) 3- Color Correct in Apple's Shake or whatever on my computer. 4- Mask the timecode and keykode to do a SD output in plan to burn DVDs for film festivals application. 5a- If accept, send the DVCPROHD version of the movie to a post house that will transfert to a HD's tape for digital projection. 5b- If accept to a any major film festival like Sundance, Canne, Clermont ferrand or whatever... beg for more money and send the EDL's cut list to the lab and re-do a film transfert techlight with the only shoot needed in HDCAM SR or a 35mm blow up. I'm totally green and only edit DV movies for friends... would like to know if my workflow make sens ? Do i will have more trouble then the normal flow (offline in DVCAM)? Will cost too much ? nyways, will call the lab to have some price... just wanted to know if i'm right to do that. thanks...
  9. I'm gonna be editer for a first short made in S16mm by a young filmmaker. Here the price for the post that the Lab (Montreal, CA) bring me : 1- FILM PROCESS 2400' of 16MM + cleaning = 384.00$ total = 384$ 2- RUSHES TRANSFERT Film transfert techlight 16mm SD = 720.00$ Synchro SD = 108$ Betacam SP's tape (30 min.) = 25$ Disquette 3.5" = 2$ total = 855$ 3- MASTERING SD (ONLINE) FCP Online SD (4 hours) = 500$ Color correcting SD (4 hours) = 800$ Titles creation (4 hours) = 400$ One Digital betacam's tape = 38$ total = 1738$ GRAND TOTAL = 2977$ Thats way too much for the production, because the budget of that short (around 20 min.) is 5,000 $ So i plan to do: 1- A 16mm techlight rushes transfert in DVCPROHD. (with timecode and keykode burn in the black stripe area) 2- Edit the whole movie ONLINE in FCP able to handle the workflow. (with a AJA Kona 2's card) 3- Color Correct in Apple's Shake or whatever on my computer. 4- Mask the timecode and keykode to do a SD output in plan to burn DVDs for film festivals application. 5a- If accept, send the DVCPROHD version of the movie to a post house that will transfert to a HD's tape for digital projection. 5b- If accept to a any major film festival like Sundance, Canne, Clermont ferrand or whatever... beg for more money and send the EDL's cut list to the lab and re-do a film transfert techlight with the only shoot needed in HDCAM SR or a 35mm blow up. I'm totally green and only edit DV movies for friends... would like to know if my workflow make sens ? Do i will have more trouble then the normal flow (offline in DV)? Will cost too much ? nyways, will call the lab to have some price... thanks...
  10. Hi, I'm at the same position right now. I'm gonna be editer for a first short made in S16mm by a young filmmaker. Here the price for the post that the Lab (Montreal, CA) bring me : 1- FILM PROCESS 2400' of 16MM + cleaning = 384.00$ total = 384$ 2- RUSHES TRANSFERT Film transfert techlight 16mm SD = 720.00$ Synchro SD = 108$ Betacam SP's tape (30 min.) = 25$ Disquette 3.5" = 2$ total = 855$ 3- MASTERING SD (ONLINE) FCP Online SD (4 hours) = 500$ Color correcting SD (4 hours) = 800$ Titles creation (4 hours) = 400$ One Digital betacam's tape = 38$ total = 1738$ GRAND TOTAL = 2977$ Thats way too much for the production, because the budget of that short (around 20 min.) is 5,000 $ So i plan to do: 1- A 16mm techlight rushes transfert in DVCPROHD. (with timecode and keykode burn in the black stripe area) 2- Edit the whole movie ONLINE in FCP able to handle the workflow. (with a AJA Kona 2's card) 3- Color Correct in Apple's Shake or whatever on my computer. 4- Mask the timecode and keykode to do a SD output in plan to burn DVDs for film festivals application. 5a- If accept, send the DVCPROHD version of the movie to a post house that will transfert to a HD's tape for digital projection. 5b- If accept to a any major film festival like Sundance, Canne, Clermont ferrand or whatever... beg for more money and send the EDL's cut list to the lab and re-do a film transfert techlight with the only shoot needed in HDCAM SR or a 35mm blow up. I'm totally green and only edit DV movies for friends... would like to know if my workflow make sens ? Do i will have more trouble then the normal flow (offline in DV)? Will cost too much ? nyways, will call the lab to have some price... thanks...
  11. Thanks for your respond Hal, But, if Analog Component can carry HD with the JVC and Canon is HD/SD-SDI... witch one can i use very long cables to plug into my HD recorder. In a sens... witch one will lose quality of the signal if i put my camera in a 100 feets crane ? What is the limit of Analog component trought RCA cable? thanks again guys... etienne
  12. I'm not familiar with new HDV camera and the HD world... but i'm little bit comfuse to understand if the JVC's GY-HD100u really got HD output. When i'm reading spec. of this camera, it doesnt mention any HD/SD-SDI output (as mention with the Canon XL-H1 perhaps). But when i'm reading on the Wafian web site (http://www.cineform.com/products/WafianHR1.htm#HD100U_Support), its says that the JVC is HD ouput... i'm more confuse... Whats going on ? thanks again
  13. Dont want the andswer from panasonic... did see a lot of resolution tests and clip post on the net, anyone shoot a scene and take note with their meter of the latitude that HVX200 give ? thanks
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