Matthew Hannam

Hey, We're beginning to grade a film shot with Hawk V-Lite 1.3x anamorphic lenses. The online guy and I are trying to to figure out the exact amount to unsqueeze. It seems impossible to find any information from hawk. It is as simple as 75% on the Y? Matt

Hi there, I'm starting work on a feature that will be shot on the Canon 7D. I am going to make HDCAM sub-masters of the footage from Final Cut Pro. I am wondering if picture wise it makes any sense to master at HDCAM SR or if the H.264 footage is already so compressed that it wouldn't make a difference. what do we think? mh

Hi there, I'm starting work on a feature that will be shot on the Canon 7D. I am going to make HDCAM sub-masters of the footage from Final Cut Pro. I am wondering if picture wise it makes any sense to master at HDCAM SR or if the H.264 footage is already so compressed that it wouldn't make a difference. what do we think? mh

Not in Toronto. Deluxe is certainly the way to go. To further to the update, I had a big talk with them today. They're into supporting us in whatever happens. On the topic. Has anyone cut a negative using FCP lists lately. I haven't decided if I'll do it avid or FCP, thinking about getting myself a mojo, but already have a kona for FCP. Last time I cut a neg from FCP it was kinda tough, but it always seems to go smoothly with AVID lists. thoughts... mh

Hey all, thanks for the responses and opinions. The details are: we haven't started yet, shooting anamorphic and trying to decide on the finish style. I guess the most opposition I met was from the lab. We're shooting in Toronto and working at Deluxe, so it's not a rinky dink operation or anything. I was told by a reputable post super that the last time he did it, they had to sped a considerable amount of money fixing splices because they couldn't pass QC on an HD master. I personally don't buy it, much like some are mentioning it's an age old process and I would really like to take advantage of the superior image that a chemically timed negative would produce. Thanks for the responses. We will more than likely go through with it all on film, the only real worry is the northern weather turning on us half way through, if that happens we might need to get in there are repair it. I'm really looking forward to working on film again, I am just finishing two red jobs and I am so sick of digital video! I'm glad to find this board, thanks again. mh

Hey, I'm getting ready to cut a feature and we're all going back and forth on how to finish the film. The DP is pushing for 35mm anamorphic, however the director isn't interested in the format unless we really exploit it by doing a photo-chemical finish. We're meeting a lot of opposition from the lab and post supervisor on this. Has anyone had a relatively problem free anamorphic neg cut lately? thoughts? Comments? thanks.