Mike Nichols

Let's try that again...

Me in 3D :)

Insurance is crucial. In addition, upfront payments with new clients. maintaining proper scheduling is important as well. Establish (if not already) a good relationship with other rental houses, because odds are, you will be sub renting to round out packages. Best of Luck!!

I went the DPX scan route on my 2perf 35mm feature. When all was said and done, I have about 2TB worth of footage, as I only scanned selects. The film was transferred to SD quicktimes with window burn in at 23.98fps and I edited, exported an EDL and had the scan house pull from my lab reels based on the EDL.

Thanks! Didn't realize digineg was clearly defined. I guess whatever my requested deliverable turns out to be will dictate the real answer.

The 4:4:4 master is going to be the exactly what it sounds like! The master "digineg" if you will, from which Broadcast and other deliverables (Blu-Ray, DVD, MPEG_TS) will be produced from. I actually will probably skip the HDCAM-SR hard master and just back up the Digineg to LTO and make SR's only upon request. I don't think DCP in the works, but if there is, that's all the better for me!

David, Maybe you can help me solve this situation then: I have 2K DPX scans (10bit RGB LOG) that I am grading in Apple Color. The images are low contrast and pastel like they should be. In Color, I set the printing density to FILM 95-680 to reset the black/white points and grade from there. I bake that grade into the final output. My ultimate finish is going to be 4:4:4 HDCAM-SR. I will never be going back to film, so is this the correct workflow? It certainly LOOKS right.

I am working on a dialogue edit for a feature. The WAV files from the production audio are 16bit/44khz Is this sampling rate acceptable for feature production audio? I would think 24bit/48kHz at minimum. Maybe I am crazy. Should I upsample to 24/48 before I shuffle off to ProTools?

That is correct. I didn't realize how much more Anamorphic would, because it's impact moved beyond camera department. Lighting, G & E were also affected, as well as crew. Again, this was specific to MY production, and that 170%, where the camera and lenses were already owned by me and not factored.

There was a feature in Canada that used our Aaton Penelope as well. Can't go into too much detail, but Penelope is out there! I shot my feature on a Kinor in 2 perf. It's a great format and we figured to have saved 25% more than had we shot 3 perf and 170% (!!!) more than 4 perf anamorphic.

Hi Guys! Actually, the correct vimeo link is: http://www.vimeo.com/abelcinetech Best, Mike

That's kind of what I have. Only problem, and this small caveat is only something people who understand these things will notice, is that the film is in 2.35:1 AR so the wide screen crosshairs look a little wonky. I think I might go with 4:3 cross hairs.

I know, it's not the most original stylistic choice, but it serves the story. I have a few video shots to cut into my film, which are to be shown as the POV through the camcorder viewfinder. I've created a couple of mockups that basically mimic the viewfinder display of some of my old Sony Handycams, but it seems to busy. From an stylistic point of view, what are some opinions on how to handle this? With NOTHING on the screen, it just looks like piss poor transfers. Should I just put a blinking REC someone in the frame and call it a day?

It will be interesting to see if the interest in 2 perf ever elevates above the ranks of the hardcores...

And that is exactly what happened! After I posted, I called the scanner and mentioned that and he realized that was the error...Too few 2 Perf jobs out there...Although the Penelope is slowly making her way into the wild.