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That's exactly how I planned to do it actually. If I just DI to filmout this one shot, will there be a difference in quality?

Is it possible to do this effect optically? Because right now this shot alone is the only thing making a DI necessary.

I'm working on a project right now that has a scene in which a boy comes flying out of a freestanding doorframe in the middle of a field. My idea is to build a sturdy freestanding door and take two shots: Shot A: shoot the door (from somewhat far away) very close to sideways, so we can only see into it a sliver. So in the master shot, all we basically see is a kid running and jumping through a door frame. Then... Shot B: Shoot the field without the boy--an empty field with a door--no camera change whatsoever Then, crop shot B, and overlay it onto shot A, so that it covers the whole frame right up to the edge of the door. So, the boy is under the overlay as he runs up to the door, but then as he comes out of the door, is uncovered. It will look like he just comes flying out of a freestanding door--sort of like a portal I guess. I'm really just concerned about the edge of that cropped overlay. We are most likely shooting anamorphic 35 and going the DI route. Theoretically if nothing in the frame changes, it should work, but are there any issues that I will run into with this sort of effect?

if the final output is completely up in the air, could be print, could be DVD, could be anything. what is the best way to do it?

My computer's packed up so not at the moment, but I'll try and get one up in the future. I'm off to Prague tomorrow for six months so I'll have to figure out a new solution. Right now I've got a drive with my 1080p DVCPRO HD selects (and a backup) and my new MacBook Pro. I've played back and made a few edits on my laptop and it seems to be running fine. Could I just make a cut on this that I could then open on a more powerful machine for exporting to DVD? Is running the 1080p on my Macbook going to be too taxing or harmful in any way? I haven't tried anything beyond a few edits, but it seems to be working perfectly alright with realtime playback. I also have never traveled with harddrives (Two Lacies, 160GB and 200GB), but I will be bringing them in my carry-on and nursing them like children. Is there anything regarding packing or airline security, i.e. x-rays, that I need to know about? Thanks in advanced. PS Just in case, anyone know any labs in Prague?

I'm actually pretty sure its noise, which was why I thought it was a compression issue, but they don't seem to think it's related to compression.

So I just heard back from the post house (Post Works). Apparently there is no explanation for the grain. It's just there. They did the same transfer they always do and used the same compression they always do. My only options are doing a complete retransfer with a grain remover, or doing some sort of downstream conversion with grain reduction. I was told that grain removal has to be requested during the transfer, but there was no grain on the monitor so I don't see why I would have asked for it. Anyways, we have no more money left in the budget so it looks like we are going to have an incredibly grainy final cut.

That's what I figured but it seemed too simple for some reason. Fair enough, back to the post house.

Could someone explain further what an AB comparison is? I'm really not happy with my footage and kind of pressed for time, as I need to have a final cut with sound done January 8th. In bad need of a solution.

So, I just finished all my transferring on my latest project, the last step of which was a supervised selects transfer from S16 to HDCAM. We then had the HDCAM selects converted into 1080p 23.98 files in DVCPRO HD for a final online cut. However, the footage in DVCPRO HD is incredibly grainy. One location was a dark interior being shot on 500T, so I was expecting grain, but it came out ten times what I imagined. In addition, even the bright exteriors shot on 200T have a considerable amount of grain. This is only on a 23" Cinema display--I can't imagine what a large screen would bring out. I'm guessing this is a compression issue, as I've seen the footage on MiniDV dailies and on the HDCAM tape and they look terrific. The real reason I'm posting is, I want to know if I'm out of line complaining to the post house and wanting a better conversion? Is there any sort of compression steps they could have missed or screwed up? Thanks

paul thomas anderson and robert elswit there will be blood coming soon

i actually have the footage situation all figured out. i just want to make sure that there's nothing else i need to do to export a proper edl. i'm not really familiar with the whole process of supervising with an edl, so any general info about that whole process would help a lot.

sorry i guess i missed that memo.

not exporting to 720p, finishing on 720p HD.

sorry for all the editing dilemmas but im new to offlining and cutting HD. so, i got back a one-light with burn-in time and key codes. i was told by the post house that it was recorded at 23.98, so i captured with FCP's Pulldown removal feature. however, when i drop the footage into a 23.98 timeline, it requires me to render everything. when in a 29.97 timeline, it doesn't. how do i log my footage so that i can edit properly in a 23.98 timeline, as it was shot at 24fps and i need my sound to sync up properly. i'm also exporting to 720p. thanks in advance ps, is there anything i need to do in addition to having burn-in timecode to create a proper edl for my colorist?

I've already dropped my film off for a one-light with burn in timecode (and keycode just in case). My plan was to make an SD cut from these MiniDV dailies and then go in with an EDL and supervise my selects to HD and capture them to 720p or 1080i in DVCPRO HD. This way I can cut them on a desktop like a G5 (720p at least) and from there can make DVDs, downconvert to Digibeta, and if the possibility arises, print back to film. HD really leaves my options wide open.

Could a factory standard 17" Macbook Pro (the 2.16GHz not the more recent 2.33GHz) handle 1080i without any additional hardware other than an external drive? How about 720p? I plan on using FCP 5.1 and editing either 720p or 1080i from a supervised S16 transfer to HD. I want to have an HD master no matter what, but if I'm going mostly to DVD and only to HD formats for festivals or screenings, is 1080 worth it?

I have a small part of the budget for locations, but the thing is there's a very specific dolly shot involved that needs a certain apartment layout. The front door must be at the end of a hallway off of which there are two bedrooms, so that a straight dolly down the hall can shoot the front door, and shoot into both rooms. The location I have now is perfect, but halfway down the hall the wood turns to tile, so I have to run on track. Its a harder layout to come across than you'd expect and its not the easiest thing to search for, because I can't really call up apartment owners and ask to come in. As for the dolly, the booming arm isn't a requirement, but a plus. I was thinking just rent a doorway dolly and then find some sort of skateboard wheel adaptor. All in all though, if I could just find a location without tile, it would make all the difference...

I'm shooting a short that has a bunch of dolly shots, but one of the major locations is the third floor of an apartment building with a steep stairwell and no elevator. A Fisher or even a Chapman seems out of the question, but I'll need something that can carry a camera, operater, and AC. Anyone have any good skateboard dolly recommendations? It must be able to run on standard track. I'm renting in NYC if you have any specific rental houses. Thanks

I'm currently renting equipment for a S16 student short in NYC. We need to rent camera from the same place as G&E for deposit/insurance restrictions on the budget. After reviewing possible places, the most price-friendly place seems to be Handheld Films. However, I've read two or three reviews of the place (only by NYU students, however) that sound pretty horrible (equipment scheduled not available on pickup, students aren't treated profesionally, etc.). Does anyone here have any experience with the place? Thanks in advance.

I'm looking for an HD master for a S16 short with a VERY tight budget so my plan was.... One-light to DVCAM, cut, export EDL (with handles), and then telecine to D5 for HD. ...until a DP suggested to me that I: Best-light to D5, giving the post house as many notes as I can about what I want for each shot, and then color correct from D5 to D5. He said there may be some resolution loss, but I'm not worried about it if it will trim the budget. Any thoughts?

I have a shot in an upcoming project that has an assortment of dollies, pans, and focus racks. We are shooting on an XTR with a zoom lens (comes in a package). I have heard that zoom lenses have a tendency to breathe or slightly change the framing when racking focus a lot. Is this true? Any way to avoid it? Any lenses that aren't as susceptible to this? Thanks.

I'm shooting a short (2400-2800' of color neg) in a few weeks. Although right now I only want to output to DVD (16:9 from S16) for screening and submission to festivals, I think I'll want an HD master at some point for festival screening, etc. Does it not make sense to do a supervised HD telecine from the get go? Will HD look noticeably better that SD even though it will be downconverted to an SD DVD. I guess what I really want to know is, should I just do the HD telecine no matter what or only when I need my master. Sorry if this is a little jumbled I've been reading posts and lab prices for the last hour.

this is more of an editing question than an hvx question, but i'm shooting a short on the hvx and am framing for 2.35 to be edited in final cut. the final product is going to be an hd quicktime for web use, so i was wondering if it is possible to export a quicktime that is only the 2.35 frame as opposed to exporting letterboxed 16:9. thanks

i would definately avoid using copywrited music for an "on the lot" submission. i've only perused the entry contract, but i can't even begin to imagine the legal obligations of fox in dealing with that type of submission. they are probably getting thousands of entries so they would very easily do away with entries with copywrite issues to avoid the trouble. even if you do get permission, you have to get permission for fox to use it, which, just guessing, would not be cheap at all. i would say just avoid it because you'd be cutting down the probability that your submission gets picked.