David Ghast

Have phish play at your shoot?

Soft and warm, yes, that describes it beautifully. I love that look, instead of the sterile digital look that comes from modern lenses. If i were shooting mutlicam's, what are the chances of a set of angie retro lenses producing the same looking image (given that they werent scratched or anything)?

Dont do it. Thats all i have to say. You've been warned.

I think you all are missing the point. Premiere is about as good as it gets if your a small production or a lone-editor, however it doesnt work in large productions with dozens of editors because there is no centralized media management, and well, avid is made for reliability and support, which would explain the fact its interface is from the 90's and nothing else besides format support has been updated in it for quite some time. FCP is marginally better than premiere, however you'd be missing the forest for the trees if you thought working on a proprietary locked down platform was in any way a wise choice. If they ported FCP to the PC, i'd use it over premiere any day, but never again will i go through the problems that the "once you go mac, you can never go back" apple philosophy caused when i found that there was no way to do what i wanted to do on an apple, and no way to port my files to a PC. Hell, maybe you can get away with working on a mac, but your making a deal with the devil, and sooner or later, steve jobs cock's gonna end up in your mouth.

You have to understand that an editor is in fact a collection of different programs. Some processes utilize the GPU, others the CPU, and sometimes with more than one core. I believe AE supports multicore by spawning seperate instances of itself, which is an example of how these programs, which werent made with mutlicores in mind, are rigged to adapt. Some functions of MC probably do work with mutlicore, you just didnt notice, but then again, were talking about avid, and well, it is what it is.

You might want to use lancoz resize instead of relying on your editor to do it. Never rely on your editor for image processing of that nature, they all are terrible at it. edit: when i say editor, i mean the program not the person.

They tracked the actors face and then pinned static pictures of arnold to it. Then they created a depth map to enable a faux parallax so it wouldnt look weird when the perspective changed. Then they did some single warping to make him blink or sing. THen they hired some crappy voice actors to somehow make the audio track more obnoxious than the video.

lol, how the hell do you export a single field? I imagine that would look strange. you probably just let your editor deinterlace it and made your footage look like crap. If you want to deinterlace it, use virtual dub or an avisynth script.

Dont use FCP.

Your shooting a porn on a RED? Nice.

This effect is produced by shooting directly at a light source with a 3chip CCD camera, though i forget if the effect only vertical or not.

Looks like he shot the whole thing on a bolex with some dramatic directional lighting. Gives the same effect of shooting something deep underwater. Meh.

How do you light up a church? A few cans of gasoline and some matches should work.

lol, ok, ill give you credit cause your new at this, ill explain what you did wrong: mpeg is a final compression format, it uses interframe prediction (feel free to google that) to enable it to compress to 10% of the original file size (typically). This interframe is bad for editing, cause the program has to guess the source frame from the inter-predicted frames. Any sort of compression format shouldnt be used unless you A) know what your doing or B ) are done with post. The general rule when doing post is to A) keep it in its original compressed format, that is, if your original format is compressed (that requires your knowledge of the camera and its compression, but is the often the smallest filesize), B ) use an uncompressed format (the largest filesize), or C) use a lossless codec like lagarith which results in filesizes in between A & B. As for your framing issue, you didnt create your project correct to reflect the dimensions of your source footage. Look at your footage in the footage window (or whatever its called), right click it, and select interpret, it should tell you most everything you need to know about it. Write that down and create a new project to reflect this. Be careful when you export that all these settings are in line with your video. edit: you cant write "B )" next to eachother without invoking those god damn emoticons. Not everyone likes to express emotion through retarded graphics from the 90's. edit2: forgot to mention that your working with HDV files, which are like a modified mpeg2, which is still bad for editing. Your best bet is to re-encode them to lagarith.

Theres no reason to become obsessed or confused with all this information, although it is important to understand. A general rule of thumb is: 1. If you can record in progressive, do it, and keep it progressive. If you plan on doing any rotoscoping or local effects, you'll understand why. 2. If you record in interlaced, dont deinterlace it unless your doing rotoscoping. 3. Deinterlacing is a very lossy process, interlacing is not. And for the love of god, dont let telecine con you into doing a hard pulldown on your film material (which will interlace it), you can easily do this in post, even though theres no reason to.

Why is your whole film in a reduced frame size? You need to resize it.

Ditch the mac platform, your looking for trouble working on a fischer price computer. When it comes to doing post, proprietary is not a word you want to hear. You get format locked and before you know it steve jobs dick will find its way into your mouth. You think im joking, you'll see.

You got some good lighting, i dont care much for the blue-shifted stuff, makes the actors look like their standing under a glacier.

I looked to going to a canadian film school for a while (im a US citizen btw), and let me say that canada is worse than the US when it comes to immigration. Theres a 3 month waiting list just to have your application seen for an educational visa, and worse if you so much as jaywalked when you were 4, they want to know about it and retry you for it. Once schools up, they force you out of the country, and since applying for work visa takes even longer than an educational one, including the fact that you have to prove your worth, its an impossibility for students to get a job right out of school. Your better of staying in europe if you want to go to school, theres no real advantage to going overseas.

little to no money? Then expect little to no production. What your asking is something you only get from experience, or countless hours of research. I would suggest thinking it out, doing a few months of research (at least) and then getting back to this band about shooting a video. You shouldnt be investing jack into this if its for a band, if its their video, then its their money. The worst thing you can do is promise someone something you are incapable of doing.

Im going to be shooting with MVC's (machine vision cameras) which use c-mount lenses, and i'm looking to capture the 70's retro style. Given that im not shooting on 16mm ektachrome and its not the 70's, could you suggest a lens and any filters that would help emulate this look? Heres are a few examples of what im trying to go for:

Is there a good site that explains the insurance situation in small productions? Some of the questions Im having trouble finding answers to are: 1. I rent a house for a few days, does the rental owner's home owner insurance cover any damage done to the property, or do I need some sort of insurance as well? Do I need to inform the owner of all the people who will be on the property? If I need insurance, do i have to list everyone as well? 2. I'm doing a closed door (read: nudity involved) shoot and have opted to have one other person come on as temporary help, do i need to make them an employee, or can i just pay them out of pocket? Is there an issue with insurance if i opt to pay them out of pocket? 3. Do I have to hire post-production people as independent contractors (for this example, assume there is only one), or can i pay them out of pocket as well? Is there any insurance liability if they are working on their own equipment on their own property? I guess the crux of these questions is to what extent, in very small productions, one can just pay off the actors and help without bringing insurance, W2's, and 1040's into it.

Just to clairfy, im looking for highspeed footage that has not been slowed down, and is still in its original captured framerate.

I need to test my pipeline in advance to know what my camera specs need to be, but to do that i need to get a hold of some native highspeed (120p) footage, meaning it has not been exported into a playback format of 24 or 30fps. Anyone know of of a site that offers highspeed test footage?

The man who never took a chance, never had a chance.