Jeremy Ables

With the budget of Skyfall it is difficult to say without having been onset to say how they pulled of the wreck you referenced. They could have had multiple vehicles exactly alike or a way to repair it in a timely fashion. As it seems everyone has given you pretty much the same answer which is using multiple vehicles I believe it will come down to how are you going to hide the good car, the shot between the crash, and the aftermath showing the wrecked car. You may have better luck if you work the problem backwards instead of finding a running car for the scene and then attempting to find a junkyard version of it, find a junkyard car that quite possibly already has the damage you are looking for then see about finding a running version in the same color.

Doug as far as the epub thing you could always go with amazon here is the link that i found maybe it could be useful for you? http://services.amazon.com/content/sell-on-amazon.htm/ref=footer_soa?ld=AZFSSOA Hope this helps!

Agree with Brian on the 10,000 hours as I am a student myself and working towards those myself. I think can relate to your situation, I like your idea of writing down the most crucial info of carrying it around with you, howerver I think that words will only get you so far. I was placed as the DP for my senior project recently and the first thing that I did was pick up the master shots for dialogue book in e-book format. I did this for a couple of reasons my script was dialogue heavy and was trying to come up with stuff other than typical coverage for each scene to give it something that looked more than average and the pictures that it gives really spawns great ideas and just as you turn the page it's the shot that you were thinking of! The last thing that helped was a shot list, yeah a storyboard is great to look at but when you are trying to get shots done on a time crunch going racking your brain for the next shot while on set was not something that was recommended. Hope this helps I am glad to see more students with similar issues that I think we all have to figure out how to face.

Also the Footage looked great can't wait to see the Feature! Great job I hope that you have investors crawling all over this! JA

I have CS6 and Resolve 9 Lite, my past experiences were with previous versions of both programs so I will give it another shot I appreciate the information and the quick response. Jeremy Ables

What was the process for getting your footage into Resolve, as I have been trying to use resolve but have had some difficulty getting it from my NLE to Resolve. Any help is greatly appreciated. Thanks, JA

Also as I was Shooting at a local game the other day even on a tripod in the stands people like to stomp there feet, kids love to run up and down, generally every kind of motion imaginable travels back through your tripod from the metal stands as was quickly realized so I decided I was better off on solid ground. If you do decide to zoom in/out as these have photography lenses you have to readjust your focus and whether manually or automatically and may have to do so depending on where your original point of focus is. Try shooting as wide as you can with the lens with the recommendations from Michael. Good Luck! I guess if you are lucky enough to have cement stands not really an issue just an after thought JA

My experience is not so much a fix it in post mentality on this particular issue because everything built into the camera was done for a reason. You can push gain in camera if you deem it necessary or aesthetically pleasing once you look at the footage but I am afraid what you will find is that no matter where you push it you are going to end up with some kind of noise injected into the image. Better options depending on setup, equipment and look you are going for is to do what Alessandro said shoot with your lens on a wider aperture and if you have already done that find a way to add more light. The problem with shooting wide open is the difference in your depth of field and depending on equipment it may make little significance to a very large significance. Shoot it to look like you want it to look like first then worry about adding or taking away. Much safer.

No Problem Good luck with your shoot!

Small HD website states that the monitor will go 4 hours on 2 batteries but you can hot swap the batteries if necessary. The 7D might go about 2 hours maybe if you are recording without any breaks. But even if you are in a cool environment the camera doesn't do well after about 4 hours of recording straight the sensor needs to cool off. If you are in a hot environment (lot's of lights or outside high temps) then the 7D will check out with a temp overheat warning after about an hour or so it simply varies. If you are going to record with the 7D I would bring a second body use one in the morning and one the afternoon and I would bring at bare minimum 6 batteries and three chargers this way you keep your camera and your monitor up and running.

I saw Tony Reale a YouTube host do a post about this very issue and I believe the first commenter had a solution that might work or at the very least the article will give you an idea of what is happening hope it helps. http://www.nextwavedv.com/analyze-the-frame-reviewing-your-video-footage-on-your-computer/ Jeremy A.

Phil, I appreciate you clearing up the terminology you use so much and read so many different articles everything becomes jumbled together. I am glad you were able to come up with another solution for Peter hopefully he is armed with some technical info the next time he talks to the processing lab!

Peter, From what I have looked up and my understanding your H.264-is an RGB format, my only experience however, is my DSLR that uses H.264 compression and outputs .mov files in an Adobe RGB color space. What may work better for this lab may be that they need to go into a .mov file first in order to get to a color grading/correcting software where they can take your image into suitable file format for color correction. Also H.264 is horrible typically for this type of work it is highly compressed and the correction/grade either does not stay with the image well or at all. Even if you have RGB files and they put them into a .mov file format, which is still RGB, when they go into the color correcting software (apple color) you do go to (my understanding-please someone correct me if I am wrong) a larger color gamut for them to work with and although they may have to fix things when they bring it back to the .mov file it usually a send a clip back to the software make tweaks and re-render. Once they are done They can send it out as an .mp4 which is still an H.264 compression if I have read my latest export windows correctly and it will change the colors some with the compression but not nearly as much if you tried to color correct with H.264. I hope I have explained it in a way that makes since if not helpful but I think that the lab was looking out for your best interest, and trying to get you the best result possible. If someone else can either give a better explanation or a better solution I look forward to finding out what it is. Jeremy A.

So aside from being offered this camera to shoot on what is the deciding factor to push you towards or away from this particular camera? If you were capable of showing at the local movie theater last year with a camera that you know vs trying to figure out a camera while in production I would recommend against it. I work in an equipment cage at my school and have seen many fellow students have to re-shoot projects because they "thought" they knew the gear well enough. Next are you doing double system recording as this camera does seem to have a decent set of microphones on it for a prosumer camera but no XLR inputs not that you would want to use those for more than a scratch track anyway especially if you are going to show it on the big screen. The main concern that I have with this camera at least from what I glanced at quickly is that it a hard drive based camera and unless you do not have many heavy production days scheduled you may be okay. I would just hate for you to get halfway through your project and the hard-drive in the camera crash (which probably cost more to replace than the camera is worth)and then not be able to finish your project or have to scramble to get another or the worst is to lose a large amount of footage. Speaking of your footage the good thing is that from what I looked up this camera only holds 16gb of memory so you probably wouldn't be able to record your entire project without dumping the camera anyway. That is one of the things about this camera is that you will have to dump the footage from this camera (if you decide to use FCP7) using log and transfer here is the link from apple-http://documentation.apple.com/en/finalcutpro/professionalformatsandworkflows/index.html#chapter=6%26section=2%26tasks=true. If you decide to use premiere you should be able to basically download all of the clips directly from the camera, then import them into premiere without any issues. The only 2 cons I saw against this camera were that the white balance appeared to get "wonky" but I think this was in Auto mode just something to keep an eye on, and the lack of neutral density filters, which depending on what you are shooting may not matter but it is always nice to have them in case you need them. I realize that you are on a budget, but a set of filters and and an adapter(if you need one) may go a long way in your production for all sorts of different reasons. As far as fitting your purpose each camera is a tool in a tool belt and can accomplish different things some are better at low light situations some render color and exposure really well (of course depending on lighting) in the end if you and your crew can accomplish your film with the gear that you have on the budget given then go for it if you feel you need better/different/more expensive gear well something has to give. Sounds like you need to run some test shots and run the camera through it's paces in all the possible scenarios you could be in and see what kind of footage you are getting back and then sit down with your producer and DP and let him know whether or not it is going to work. Well sorry for being long winded hope this helps!

Yes and No, Technically yes the camera that you use can make a large difference when you shoot something. If you have fast moving objects and you are attempting to use a camera that has a CMOS sensor you will get what is known as a jello effect as the sensor reads like an interlaced television picking up one portion of the image at the top of the move and a radically different portion of the image at the bottom but will happen with stationary objects as well like vertical lines such as corners of walls. The other thing that can make a difference is the compression that the camera uses for output. Some have proprietary output files like the Red, some are in .mov file names but have different "wrappers" to contain the footage for the compression. This gets very complicated very quick and I know only enough to be dangerous. The compression of digital video footage is what makes a lot of footage look and feel like Video compared to film or at least look filmic. Raw and uncompressed footage has a much larger dynamic range (of course this depends on what the camera's sensor can see to begin with) allowing for more play in post. However you still have the color gamut of any digital camera to consider and what it will record at. You will have to check facts and figures but I know that between the color gamut of 4:2:0 and 4:2:2 and 4:4:4 you and the whether you have a 8,10, or 12 bit signal depends on how large your spectrum of colors are and the latitude you have to alter without having issues such as banding and artifacts within your image. Where the no comes in is it the right tool for the job, because you can use so many different cameras to accomplish the same task you have to know if the camera you are using is right for the task at hand and what its capabilities are if you are doing VFX work with heavy green screen you need at least the 4:2:2 color space and many prefer better depending on what you are doing and how high a quality the key has to be. If you are doing a multi-cam set up it is more about the connections that the camera has or what you can adapt to it in order to be able to control some its settings remotely. Lastly if you are doing something where you cant fit a conventional camera a DSLR will cut together well with most footage. Hopefully this was what you were looking for in the technical realm and a few examples thrown in. Jeremy

As this is your first post this is my first reply, as digital film student I personally would love learn the craft of shooting film. I think what makes these cameras so great is the customizable settings, the dynamic ranges and the ability for faster turnaround times in the deliverable product all because of an expedited workflow. With regards to DSLR's, yes they are coming along with Canon's 1-DC at 4K resolution but you are talking about a camera that I believe is $15,000 U.S. out of the average consumers price range! Now I don't dislike them(DSLR's in general)but what I have come to realize is that there is no one right camera for every job, and the I think that is why I would like to learn how to shoot on film, how to shoot with high end Red's, Arri Alexa's, Phantom's, you name it I want to learn how it works, what it's workflow is and what it's limitations are. I don't know if you have ever watched the Zacuto's Great Camera Shootout where they compared film to digital I will include a link but I think maybe it will help to answer some of your questions. http://vimeo.com/24334733. Thanks, Jeremy