Johnny Roc

try cinemotion - off motion enhancer - standard you have to scroll down first and select the proper input first, HDMI 1 in my case.

the answer is in the advanced settings. disabling the motion enhancement feature or something like that. don't remember but tweak everything advanced until the dv look goes away.

the problem is with your settings. I bought a 46'' sony LCD and blue ray and immediately noticed that everything looked like it was shot on dv. a few tweaks in the settings and the problem was gone. check your manual.

I'm the firsttimedirector. Instead of changing the name I've created this new account. thanks for all the input. My DP is out of town shooting a feature right now so our communication is limited but we'll have plenty of time to catch up. I've done a lot of research and have talked to a few labs to get some numbers which i have posted on a different threat: DI vs Old-school. I have a lot of respect for 16mm the format. And think those who don't work as hard on a 16mm set will not last in this biz. I think the leadership skills of the above the line people have a lot more to do with how seriously talent and crew take the project. There are plenty of gems in every format. 16 to me has the quality of the impressionistic painting, the grain being that intentionally visible brush stroke. But it all depends on the project and unfortunately a 35mm film is still more marketable than a 16mm film all else the same. Even despite the successes of Funny Ha Ha (my dp shot), Leaving Las Vegas, Band a part, Wendy and Lucy, the Wrestler, Hustle and Flow, the Balad of Jack and Rose, Mutual Appreciation (my dp ), Half Nelson, etc. Surprisingly after doing my homework shooting on 35mm and staying in the film world is almost the same if not cheaper as shooting on 16mm even with a 10 to 1 shooting ratio. 4 perf, recans. 2 perf of course would require DI. Assuming the goal is a film print which it is. I have 35mm prints for my old shorts which I obtained from a D5 master and also have a few HDcam masters and the difference between the print and the HDcam is very significant imho. I remember seeing this really crappy film Cargo at the largest theatre at sundance fest about four years ago and a few seconds into it you realize it was shot on 35 and it's a 35mm print, I didn't have to ask, the difference was that significant. It's night and day really. I think DI has its place and is very useful for films with special effects, and anything that will end up on the small screen, but ultimately HD found its way into our lives because of very clever marketing. You can't pick up a film mag without HD being mentioned at least once on every page. Yet screenwriting, or original composition, or actor's performances usually get a few pages somewhere. I mean blue-ray? common. Do we really need an hd master on a 46'' tv? I'm not talking about capturing on HD here, I'm talking about the work flow. I respect all those 40K festival features shot on HD, and the special effect blockbusters... I think the DI process is being pushed onto the indie filmmaker because a) the theatrical release is becoming more of a dream these days and it'll end up on the small screen anyways cool.gif those post houses have to eat too and DI is their bread and butter. The biggest question I had to ask myself was can we realistically hope for a theatrical release? the answer is yes and we are shooting on 35mm.

merci beaucoup

title: money ran out. by johnny roc. johnny roc made a feature but didn't do the math on the screen shows up a creature it's johnny taking a bath

does this look right? If we just need 1 print with the ability to make more later, and a possibility of mastering on a HDcam later, do you see any unnecessary steps in here? Is something missing? Do the rates look ok? ( 64,000 ft. processing $0.095 per ft, telecine to DVcam $175/hr for 43 hrs. ) _____________________________________________________________________________ 35mm color answer print, a-roll, liguidgate $0.91 qty: 9270 ft $8435 DLC dynamic light changes ( do i really need this? ) $500 flat 35mm digital optical soundtrack negative $0.54 9270 ft $5005 sync optical soundrack negatives to picture negative $38 6 reels $228 35mm color IP, a-roll, liquidgate $0.945 9270 ft $8760 35mm color internegative $0.89 9270 ft $8250 35mm color check print $0.22 9270 ft $2039 Sub Total: $33,219 ______________________________________________________________________________

85mm lens on an SLR is closer to a 100mm lens on a motion picture camera. Still and motion picture film is the same size and is 35mm and is four perforations per frame. a 50mm lens on an SLR will even look very different when mounted on a let's say 40D dSLR because of the chip. It will look more like an 85mm. I'm not a dp, i'm sure someone here will be able to explain this much better.

indie feature. shooting format = 35mm. Buy backs, no short ends. 4 perf. ( 2perf needs DI. ). 1.85 64000 ft of Kodak Vision 500T 5218 and 250D 5205. end goal = film print then: Staying in Film is - cheaper - better quality print There are no effect shots. Any real disadvantages I'm not seeing? For DVDs/internet promos we'd do a standard def telecine onto a Digibeta and the editor would do basic coloring in Final Cut. Main objective is to get that gorgeous 35mm print. Sorry if this is an old topic. thank you!

Looking for an LA based Post Production Supervisor who's very experienced with indies who would be willing to sell an hour of his or her time.