Bryan Jacobson

Okay heres the scenario, 3 camera shoot, 3 HPX-500's all shooting 720p 24PN. 1. Is there a quad split monitor that I can plug 3 cameras into, take that monitor output and record the quad output so I can see all 3 camera shots playing in sync upon bringing up the clip recorded from the quad output for video assist? I'm trying to minimize recording devices for playback. I've looked around but I haven't been able to find a quad input monitor for rent or any type of signal processing to create a quad screen based on 3 inputs. 2. Going from the cameras to the DDR or Deck has anyone had any experience with wireless monitor out? I've never worked that way before but the director suggested it. This will not be a live event but a narrative feature, so we are going to want to be able to access instant playback from all 3 cameras in sync from one location. Thanks for any help you can offer me!! Bryan

Thanks for the info guys, I appreciate it. Bryan

Hi, quick question for Over and Undercranking with Varicam with standard fujinon HD wide angle lens. Just wondering what your favorite settings are to get the cleanest effect in 60/48fps. I didn't understand the shutterspeed table very well, just looking for a solid garden variety setup if one exists. I will be editing in FCP importing via FW using FRC. Thanks for your time, Bryan

Thanks Man, were shooting tight shots thankfully- so that should help. Bryan

Hello, Doing a scout this week for an Ad I'm shooting on a city bus with a Varicam. Just going over what my lighting options are, I have never shot on a bus. In a car with mini flos yes, but not a bus. How can I effectively utilize a 2ft Kino- powerwise, what type of portable (budget effective) power do you suggest? Any other thoughts or ideas I would greatly appreciate. I'm hoping to utilize bounce as much as possible, but may need a bigger fill. thanks, Bryan

Hey Bill, it was the biggest setup I've been apart of on a production. We shot it all live, for about 3.5 hours with a break before the encore. Sony D50's and 35's. I miss color correcting on the 2K quite a bit, I saw Sue the other day, things are a little different over there now I'll PM ya about that. I'm still doing a lot of editing/graphics, FCP, AE and Avid DS Nitris, so I get the best of both worlds, production and post, I don't think I could ever go with all of one or the other, I like em both too much. I still get to color correct, just not like I used to. It's like playing hockey at the exel center and then going to an outdoor rec rink.

Hey everyone, Big and Rich on the Great American Country channel (GAC) has been airing. We shot it here in Minneapolis at Myth Nightclub, 7 cameras including Lawrence Boothby on Dolly, and we also had a 24 Remote Jib. Shoot turned out great!! If you get a chance check it out it will be airing for awhile yet I think. I was originally supposed to work as a cam op, then it turned out no one was available to grip the hybrid 3 dolly. I used one a lot in school but it had been about 5 years, so I was a last minute fix. My company, Alpha Video, was in charge of getting all of the equipment together, and hiring local crew for the production Co. from LA. During the setup Larry walked over to me, here comes the out of town cam op I thought, hopefully he's not dissapointed in my rustyness. I told him straight up where I was at and instead of being frustrated he dived into to teaching me all about it, how to level track, build the dolly, communications, movement, helping him frame with anticipation and using the monitor. I didn't know who he was, but I knew I was working with a real professional, getting knocked off camera was the best thing that could have happened to me on that shoot, sure would have been great for the demo, but I'll take the great education any day. I checked out his website afterwards, he's been around. I was really proud of the job I did, and looking in my monitor at Larry's camera work I was humbled. I have bts pics up on myspace if interested. http://profile.myspace.com/index.cfm?fusea...riendid=5814369

Hey guys, thanks a lot for your input. Sorry I've been offline for a couple days. The technical info is especially helpful. I'm sure I'll have some thoughts after I watch some of these I have not seen yet, beware this thread may return. Thanks again David.

My apologies for being lazy and not digging for this info. I was interested in what digital films you all appreciate. I have some research to do and I was hoping to get a list going on HD films so that I can netflix and coop myself up for a couple days. If you could include what resolution / format it was shot on - or camera, that would be helpful. Or if you have any links to lists that would be great too. Thanks

Thanks guy's this was fun thread to read. Hi David, What lab are you using to burn back to film? Does TDI do that? I heard they do digital distribution there for digital cinema, I would be interested in hearing about the compression quality they are using. I'm sure it's been discussed here before but do you know what theaters are doing that now and what kind of projectors they are using? Thanks for sharing about your experience over there.

A colorist I know here in town went from from a Y-front/da Vinci to a Lustre (Discreet). From what I heard it seems to be a reliable software based CC. It also has track balls and the whole nine. Neat set up capable of 4K. Plus 99 power windows vs. da Vinci 2K which has up to 8 or 10 I think depending on the tier. da Vinci answered with "resolve" but I have not heard much on that. I think Data based final color corrections will take over at some point as soon as the houses that have not gotten there yet streamline their workflow. Danielle I see so many limitations with FCP CC-but when it's all you got I've found I'm happy to have it :-) I am not as familiar with Avid CC. David I agree that no type of system can replace an experienced colorist, I'm sure people will continue to try though because of it's cost.

Cinematography, for several years it was the only thing on my mind day and night. Then all sorts of unforseen craziness. In short some things happened that moved me out to a different lifestyle for awhile. Editing and graphics became my main focus, along with whatever gig I could get ahold of. So far I still do not have a personal work I am proud of, it's like my feet have been stuck in the mud for the past 4 years, overworking myself on no budget corporate videos to build a demo. Ick. So I haven't been around here as much. I just wanted to share with you all that my tour de freelance is over for awhile, I took a full time gig with a rental house. It's a whole new feeling, surrounded by cameras and gear once again. No film cameras unfortunately, only video but thats fine with me. Needless to say I'm in that constant state of mind where cinematography is an everyday thought process. It's good to feel that way once again, excited like a kid. Anyways, just wanted to say hello and I hope everyone is doing well. I look forward to being more active on the site.

The timecode laid down from telecine during your first onelight will never change as long as you stay with the same framerate you transfered at. Many want a 29.97, some want 23.98 if going to HD, as long as you edit what was laid down to tape in the correct TC, it will always match up with your original cam rolls TC. When the colorist gets your edl, he or she will put up the film sequencially by cam roll. The C mode edl will give the colorist scenes by hour TC starting with 1. Once all of the select scenes are transferred, you pull em back in uncompressed and do your thing. It's a very standard process, but there is also a lot more to it depending how deep you wanna go. In my previous post I said (for some stupid reason) to do a onelight if you are doing a T2T, this is not the best way as was pointed out- thank you for the correction David. A best light is definitley the way to go, 2K or better- I like the C-Reality, but have seen some real sharp images come off a spirit for 16. I believe the spirit has better grain reduction but much of that has to do with the tech skills of the colorist as well. All cutting the neg does is increase the speed of your transfer time thus reducing costs. The neg cutter should provide you with a new conformed edl based off of select roll foot frames and keycode. It's not something I would suggest if your editor has never worked with that type of workflow before. Think of having to search through 100 rolls of 35mm to find 110 scenes. Now think of the colorist putting up 12-14 rolls knowing they are transferring the entire roll for each and all of the scenes are there. Computa Match was good company, not sure if they are still around. Bryan

Lots of options here. Some initial thoughts. 1. No reason to do a one light, your film has already gone through that stage since you are picture locked in your nle. 2. You have a roughcut, an offline edit ready to conform in an online suite. 3. Output A and B mode Edls. Research what information your post staff will need for each step of this process, talk to the people who you will be working with. 4. Cut the neg? Up to you. Research your costs, if it's cheaper to just grab from the original rolls than you probably wont get as much dirt, but I've seen some clean film come back from the cutter in my day, but be aware some film even after going through the lipsner can stay dirty depending on who you use. Once all of your scenes have been tranfered in a Best Light, reconform in an Online suite, tweak color digitally if needed or do a tape to tape. If you need to do any repos better to put the neg back up. The only reason to do a second one light would be if you decided to do a final Tape 2 Tape color correction- digi to digi- instead of a final CC from select rolls, or scenes off original rolls. Not really enough information in your post to get technical. Good luck.

I would bring it to a post house that uses hardware encodes, like a sonic. They will probably transfer your footage to DBC (digital beta cam) and then encode the audio and video. Spruce uses a hardware encode as well. Just check around, a cheap way is to use DVD studio pro but the hardware encode is much more reliable. With sonic creator you can adjust the data rate after it is encoded for spikes when heavy transistions that breaks up the compression.