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Brandon Robinson

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About Brandon Robinson

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    Flatiron District New York, NY
  • Specialties
    Visual Effects, shooting and directing, editing, animation and grading. Overall high end CG is my biggest interest, most of my work includes it. When shooting I take the post persective more often.

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  1. there is about 4 shots, some close up, some wide enough to see the actors feet on the ground. I want to make sure I can get a good key, but lighting on the actor is very important.
  2. Hey guys, I will be working on a project where the footage is 35mm to digibeta and would like to know if you had any recommendations for how to light a green cyc where the talent has to walk on it. Their feet will be in the shot and all the green has to be replaced. Normally I would use kino supergreen, but I dont want green on the talent. What do you think? While on subject do you think it could be better to go 35mm to DPX vs SD, there is a huge cost differential, would it help in this case?
  3. I will be working on a spot, the shoot is greenscreen with tracking markers, actors will be placed into a CG environment, the shots will ultimately be edited and output SD, but I have an issue. I have done this before, but the workflow was less than desireable. 35mm to digibeta to digital files key green add background 35mm color correct 35mm CC'd footage back into key and re-comped background CC'd to best match color corrected talent This was the workflow the last 2 times I had this project, but I was wondering if you guys maybe have a better route, when should the color correct happen? I don't like having to redo the key and readjust for a shifted plate when the color corrected shots come back. Can I just output the comp using the best light footage and then color correct the combined talent and cg background? What has worked or not worked for you?
  4. Thanks thats what I was looking for, I'll look into the XH-1
  5. During a shoot, is the 'component out' signal truely uncompressed, or does it contain artifacts from dvcpro codec processing? If you record to tape and playback through the component out, it does contain the artifacts, but I am wondering if the output during a shoot is more data, and can that be digitized to a disk directly?
  6. When my company gets their film footage telecine'd we get weave reduction, so it looks smoother than if was projected, that helps alot for losing jitter, past that sometimes we run a software stabilization, but Stephen is right it loses resolution, but we need that for compositing often If its a look you like, you can always add some cam shake or jitter in post
  7. Hi Montage, First off you may want to consider a 2K transfer for several reasons. The transfer will cost more, and processing the 4K files will make your composite super slow, not to mention that you will only be able to see about 2K scaled down anyways depending on your monitor. Past that you would be able to work on the footage with any hard drive, unless you want to playback realtime (aside from cached preview). If you want to playback 2K realtime you are looking at an expensive system and also about 12 drives striped together (expensive too), 4K realtime realistically doesn't exist until you go out to film. Contact me directly if you need help with some visual effects or more advise. -Brandon PS most features are worked on in 2K still
  8. This can be fixed pretty easily just so you know. We have had to do this in the past at my company, but we rent cameras and use various telecine places, so for us it was not worth looking into 'how it happened', but if this is your cam, you might have a problem
  9. So there are plenty of cams that can capture 10 bit colorspace, but is there a studio monitor or computer monitor that can display this information without interpretting to 8 bit. I found one at siggraph (Sunnybrook HDR ) that claim they can display higher than 10 bits per channel, but it didnt have a fast refresh so useless really for video I feel. I am looking for a 10 bit display for a video installation piece, so if you know of one and are also interested I am open to working on group projects. -Brandon
  10. It doesnt matter too much if you edit with AVID or Premiere, because you will digitize according to what each of those programs would want. As long as your SDI card works with premiere you should be fine, what you need to be concerned with is if your computer can digitize uncompressed, your drives have to handle something around 40 MB a second, if they can't then you need a more expensive drive solution, or you have to edit at a lower resolution. As for the digitization you need to decide on an uncompressed codec that will work for you, AVIDs is built in, but your card should have its own also.
  11. thanks for the help, we are going 35mm vision-2 5217 shooting 3 perf
  12. Thanks David we have discussed this and are going with that stock
  13. Thanks for the offer Ben, I'll know how juicy the footage is after we shoot, but it looks to be good, Thanks for all the advise, it is coming down to the line and we are all still scrambling to decide 35mm film or HD all the comments have been great, I will be doing a more accurate cost comparison, as of now I'm leaning towards the F950 route, but cost will ultimately choose for us And though it is risky, I am considering a direct to disk digitize from the F950 where we could see the footage instantly and even begin working on the green screen during the shoot, just a thought
  14. Well after further discussion with my team, they are telling me that with some deals they got, the film will definitely cost less, and the director would prefer it, 'his only experience being in film', I would prefer tyhe film look, but I do alot of post and also like a lot of control , so if it comes down to it have to being film, what film should we use? and as far as everything I read, there should be a similar amount of information in a 2K scan to DPX vs a 10bit 444 digitize from the SRW1, sound right? any advise, or advise for where to get a cheap stage for the green screen work? "WILL TRADE FX WORK FOR HELP!" Thanks again, you guys are great!
  15. I will be doing a special effects driven short in may, there is loads of green screen and matchmoving work to do. Our production team is of 2 thoughts right now: shoot with the F950--->SRW-1--->HD ingest--->QT or DPX--->export DV dailies---->edit---->final conform shoot in 35mm film---->telecine dailies---->edit----->telecine edited film to DPX or QT---->final conform This is a 5 day shoot, and many shots will have entire greenscreen backdrops for digital environments. The cost seem to be comparable unless there is a deal we do not know about out there. The F950 is hard to come by and expensive, so the cost of renting the F950 and the SRW-1 deck and the cost of a HD ingest or HD ingest system purchase really start to add up. Ultimately I want true 10bit DPX files (4:4:4 colorspace) with sharp detail. So what do you guys think HD or 35mm film? If 35mm, what film stock is best for greenscreen work? Thanks -Brandon
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