Chris_Burket

If you capture everything in DVCPro HD, there would be no reason for an umcompressed online via HD-SDI. You could simply output the sequence to D5, and your done. When you bring the footage in from the 1200a deck via firewire, you are not losing any quality at all. You are simply moving data. When the camera captures your footage it compresses it into the DVCPro HD codec and when you capture via firewire, you are using the same codec and just moving the data over to your hard drive. However, since it is compressed (it is on the tape too), you should color correct from a format like D5, or if you are color correcting in FCP, then it might be beneficial to do an umcompressed online. If you are concerned with drive space, I would suggest capturing your footage via SDI using a more compressed codec like DV. You could capture at DV resolution (at 23.98), then edit, and then do an online. I have used this workflow with HDCam and it works great. If you are NOT going to use the DVCPro HD codec to offline, then you might as well do a 10 bit HD SDI online if you have the drive speed to do it. As far as a step by step for an online, it depends a lot of the project. Some onlines get really tricky. But the basic idea is when you are done with your sequence, media manage it (which is the same as decomposing in AVID). Then batch redigitize everything at your new resolution. The media manage tool is explained in detail in the FCP manual.

Transfer to D5 or HDCam SR, and have the D5 captured direct to disk using the DVCPro HD codec. Then you can just output this back to D5 when you are ready for a screening. Or you could online it if you really want the full 1080. (for final cut) If you are on AVID you could use the same workflow, but you will have to be on an Adrenaline system and use the DNxHD codec.

If you upgrade to the latest version of Avid Express Pro HD, you can import and cut DVCPro HD from P2 cards just like final cut.

Have you dailies transferred to D5 or HDCam SR. If you are on a Final Cut system, digitize them in DVCPro HD 720p. Then you can cut and output to D5 or SR for screenings. If you are on AVID, you'll need to be on adrenaline to cut in HD.

Talk to your DI facility BEFORE you shoot a single frame. I can't stress that enough. They will work out the best workflow for you. My guess is that they will tell you to shoot 720p at 24fps. Then edit at that resolution and frame rate, then output a D5 and give it to them. Then they'll upres it to 2k or 4k or whatever they need for their film output. But again, talk to your post facility. It would take a couple minutes to do and could save you thousands of dollars in the end.

If you could afford just a little bit more $$ (like $750 or $1,000), you could get a used Canon GL1 or another decent 3 chip camera with a few manual options. Having some manual control might not be a bad idea even though you don't seem to be interested in the cinematography aspect. However if $500 is a firm budget, there are quite a few cheap mini DV cameras out there. I would suggest buyinig something in the Sony line-up. They tend to hold up much better.

Australia has amazing incentives right now. They will just cut a check to the studio for something like 3 - 5% of their budget. So if the studio spends 200 million, they will cut a check to the studio for 10 million. Plus labor is much cheaper because they don't have unions.

Does anyone know where one could rent a super 16 NPR in the LA area??? I am considering buying one and I'd love to take one for a test drive first.

First off, don't go HD until you've been accepted into a festival that will project your HD tape (most use HDCam from what I've heard). One way to do this would be to telecine to HDCam and DVCam simultaneously. Then edit DVCam and send to festivals. if they accept it for HD, do an online. If you can't afford HD telecine, then just telecine to DVCam, but GET A FLEX file with key numbers, and burn them in the black area as well. Then if you go HD, you can export a cut list and transfer your good takes in HD, then do an online. PS Someone mentioned getting key numbers and timecode burned into DVCPro HD tape in the "black area". You can't do since that tape format is a 16:9 format. There is no black area that I have ever seen. You could do this if you transfer simo, and burn it into the black letterbox area of the downconvert.

Does anybody know where you can rent a super 16 NPR in LA so I could give it a spin????

Just wondering if anyone has shot with both these cameras and if you could give me a breakdown of some of the differences. Do you think either one has an edge on the other? I have shot with the SRII and I'm thinking about purchasing an NPR as my first film camera. Having only used the SRII, I'm looking for suggestions. Won't both produce the same image, if they have the same glass and the same lighting setup in front of them? I have always thought the glass and lighting were much more important than the camera, but correct me if I'm wrong. How quiet is the NPR (providing its properly serviced)? Optical Electro House does a lot of modifications for NPR's. Has anyone used them for service, mods repairs? They sound like a good facility....

Cool, thanks for the info. So have you seen a picture (although it would not be full res), created from your test slice? Have they made a full sized one yet?

Hey, don't be hijacking my thread. Start your own. So back to the test slice thing....

Jim, I don't know if you still check this forum, but if you do... I've heard you mention your "test slice" sensor many times. What exactly is that? Is it a small section of one sensor that you had made to test its capabilities? Or is it a full sized sensor "sliced" from a large wafer or something.... Obviously I'm no expert in sensor production. I'm sure you are preparing the very best footage and stills for release this fall, but I am curious: Have you personally seen a still frame and/or 10 seconds of footage captured by the sensor and camera setup? I wouldn't expect you to release even a still until you have things perfected, but I'm wondering if its to the point where you have seen one, or shot some footage?

Just thought I'd offer a couple words of wisdom from someone whose done what you are about to do. I am curious, why do you want to get umcompressed HD files or a 2k datacine? Either are really expensive... Do you know FOR SURE, without a doubt that you will be projecting your short in HD, or going back to film via a DI? If not, why go HD at all? If you might project in HD or might go back to film, why get all your stuff done in HD until you KNOW this will happen... Don't get me wrong, I love HD and I love working with it, but it can be disappointing when you spend all this money to get an HDCam or D5 master, then it sits on your shelf, never to be viewed by a soul. (I have a couple tapes doing just that) I would suggest going the cheapest route to get a good viewable copy of your film, then worry about HD once you know you'll get a screening.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...me=STRK:MEWA:IT He said it was serviced 18 months ago by the aaton agent in Australia. Looks like an amazing kit if it all works as advertised. Does anyone know how much it would run to install a video tap? Any thoughts?

If you shot your film at 24 fps, just reverse telecine it before putting it in your timeline. I don't work with Premiere, just FCP and AVID. But, there's probably a way to do it in premiere as well. You can just reverse the 3:2 pulldown, and you'll have perfect 24 frame media.

Not quite sure what you're asking but you can use a shot twice in a sequence and your system should be able to handle the EDL or cut list just fine. The most important thing is that your computer know what timecode, key number, and roll number this shot is on. Even if two setups are categorized as one shot on a flex file, as long as the flex file points to their timecode, keycode, cam roll number, and lab roll number, it should be fine. For example, if you shot two different setups, one after the other on cam roll # xxa3c, which ends up on lab roll # 5, and those two shots are categorized as one single setup and take in the flex file, things should still work fine (in theory). Even though your organization will be out of wack, the flex file should still point to where the shot is on film and on tape. Now, you can only use 1A take 2 (for example), once in the flex file (you can't have two different shots named the same thing). But scene 1A take 2 may be referencing three different shots that are one after the other on the same roll of film. Once again, this would throw your organization off and your editor might be confused, but a film list or EDL should still work.

Now you are talking about going HD??? The best thing would be to do your initial transfer on a spirit to HDCam SR in 4:4:4. However, you mentioned budget might be an issue and you only have to deliver Digi Beta. So why go HD if your delivery is SD? By all means, use the highest format your budget can afford, but if budget is an issue, then you'll probably be staying SD. Since you are not the editor, I can't tell you how important it is to have you editor have this exact conversation with the online editor and final colorist. If you don't have the editor or assis. editor have this conversation with these people, you will probably end up spending a lot more $$$ to correct problems you could have prevented.

First of all, to be perfectly honest, I really think you'll be able to work off the initial transfer. If you supervise it and get a good transfer to digibeta, you should be able to do small tweaks in tape to tape. However, you may not get a good transfer... A FLEX file is a file generated in telecine that is basically a log of the telecine. It has all the information about the film, audio and video in it. It has all the keycode, video timecode, audio time code, role numbers, tape numbers, etc... ALE or Avid Log Exchange is what AVID's use. Most telecine suites can generate a FLEX and ALE for you. If you get a FLEX file, AVID has a program called Avid Log Exchange. You can convert a FLEX to an ALE using this program. You then import the ALE into your AVID bin, and it has each clip displayed as offline including all the important data like timecode and keycode etc.... Then you tell AVID to batch capture. Now your clips are online and you are ready to edit. If you use FCP, there is a program called Cinema Tools. You convert the flex to a cinema tools data base, then follow the same steps... Which would be the better choice? That depends on which system your editor and/or assistant editor are most familiar with. Super 16 should work great for you. Have you already shot and processed this film? Or are you getting ready to shoot? Label each roll carefully. If you already shot, label each flat. If they are 1200 feet, that's fine. Usually flats are 1,000 - 1,200 in length. Are you the editor, or is there an assistant editor? First of all, to be perfectly honest, I really think you'll be able to work off the initial transfer. If you supervise it and get a good transfer to digibeta, you should be able to do small tweaks in tape to tape. However, you may not get a good transfer... A FLEX file is a file generated in telecine that is basically a log of the telecine. It has all the information about the film, audio and video in it. It has all the keycode, video timecode, audio time code, role numbers, tape numbers, etc... ALE or Avid Log Exchange is what AVID's use. Most telecine suites can generate a FLEX and ALE for you. If you get a FLEX file, AVID has a program called Avid Log Exchange. You can convert a FLEX to an ALE using this program. You then import the ALE into your AVID bin, and it has each clip displayed as offline including all the important data like timecode and keycode etc.... Then you tell AVID to batch capture. Now your clips are online and you are ready to edit. If you use FCP, there is a program called Cinema Tools. You convert the flex to a cinema tools data base, then follow the same steps... Which would be the better choice? That depends on which system your editor and/or assistant editor are most familiar with. Super 16 should work great for you. Have you already shot and processed this film? Or are you getting ready to shoot? Label each roll carefully. If you already shot, label each flat. If they are 1200 feet, that's fine. Usually flats are 1,000 - 1,200 in length. Are you the editor, or is there an assistant editor?

Wow, a lot of harsh words. I'm guessing this was a spec commercial? I can see your intent, the idea is kind of interesting, but could have been more developed. Possibly something added in that frustrated this guy even more with his browser? For instance, if he was obviously sick (with a cold or something) and was trying to DL a recipe for chicken soup.... I think you could have done more with the idea than a guy going nuts about his browser. The set was interesting, but the lighting could have been much better. It seemed very flat, colorless. I have done some DP work, but very little so I may not be the best to critique lighting or give suggestions in that department... Overall, interesting work, keep writing and shooting.

Well put. Ya, and since you are finishing on Beta SP, my HDCAM SR suggestion probably wouldn't be the way to go, especially since attaching SR deck to a spirit in 4:4:4 is probably the most expensive telecine you can do.

Are you finishing HD or SD? What tape format? If you are finishing in HD, you could transfer to HDCAM SR in 4:4:4 which would be perfectly fine to use as a sourse for a tape to tape final timing. D5 would also work well.

Interesting, do you know how they referenced the film from the timecode on the tape? I haven't worked in the neg cutting world, just the HD and SD finishing world. What I meant to be more specific is that you can't relink your newly transferred media via timecode since it will be a new tape with a different duration and different timecode.

Hey Cole, A flat is a processed role of negative. For instance, if I shot 5 x 200ft. rolls of film and had them processed, the lab would splice them into one 1,000 roll or "flat". I assume they are called flats because they come in real thin, flat boxes. Yes, if you are transferring 4,000 feet of film, you could have each 1,000 ft. roll have its own hour on tape. Now, you mentioned 4,000 ft. Do you mean 4 x 1,000 ft. loads or something different? Let's just say for the sake of argument you mean 4 x 1,000 ft. loads. Normally on a film shoot, the AC would label each roll on the camera report. These roll names vary from show to show. But lets say you just name yours 1,2,3, and 4. Keycode.... Keycode is to film what timecode is to tape. Roll Number is to film what Tape number is to tape. So if you know that your shot is on roll 1 and starts at key number xxxxxxxxxxxxx and ends at key number xxxxxxxxxx, then you know EXACTLY where your shot is. Please NOTE: WHEN YOU GO BACK TO FILM, THE TIMECODE NUMBERS AND TAPES ASSOCIATED WITH YOUR FIRST TRANSFER ARE USELESS!!!! DO NOT TRY TO USE TIMECODE NUMBERS FOR ANYTHING! Why? When you go back to film, the only thing that will match back to what you have in your project is roll numbers and key numbers. So if you retransfer a shot from roll1 with a specific key number, you can then tell your AVID (or final cut) to match the new shot back via KEYCODE. If you try to tell it to match back via timecode, it won't work because your timecode numbers are now completely different. All this aside..... I think if you supervise the initial transfer and tell the colorist what you want in the end, all this won't be needed and you can just go tape to tape. How are you finishing? What are you using to edit? What format are you mastering on? I might be able to suggest a good workflow for you.... Feel free to PM me with any other questions.