Jump to content

Satsuki Murashige

Sustaining Member
  • Content Count

    3520
  • Joined

  • Last visited

  • Days Won

    83

Satsuki Murashige last won the day on June 20 2018

Satsuki Murashige had the most liked content!

Community Reputation

347 Excellent

About Satsuki Murashige

  • Rank

  • Birthday 05/27/1980

Profile Information

  • Occupation
    Cinematographer
  • Location
    San Francisco, CA

Recent Profile Visitors

37457 profile views
  1. Um, ok then. Takes one to know one? ;)
  2. One of the 4K models, I imagine. You would also have to check if the free version of Resolve actually outputs 4K video. Again, the LiftGammaGain forum would be a good resource for these types of questions. Honestly though, you don't necessarily need to monitor your edit and grade in 4K just because your camera shoots 4K. Monitoring in HD is still a lot more common, as higher resolutions tend to eat up a lot of graphics card resources for minimal benefit, especially once you are working with a lot of nodes or layers. Personally, I don't think monitoring 4K makes a lot of sense unless you're regularly delivering for theaters and other large displays.
  3. Can you at least specify the type of geography and time of day for the plates? Otherwise, you may just have to go as generic with the lighting as possible.
  4. I think the important thing is to shoot or acquire the background plates first. Otherwise, how do you know what to match with your lighting?
  5. If a subway train counts, maybe a few months ago. Otherwise, a few years ago, all over Japan. Trains are a way of life there. Look, I'm aware that is what happens in real life. But I'm not convinced it's necessary, unless it's for a specific story point. Sometimes less is more. I tend to think verisimilitude is great for rides, but potentially distracting for stories. Just my opinion though.
  6. The funny thing is that the 'still rolling' type of shooting isn't cheap, which is the ostensible reason why so many commercial productions insist on shooting digitally in the first place. And if there's a DIT with their full-size cart on set, transcoding and grading everything and going into hours and hours of overtime to do it, I can't imagine that ends up being any cheaper than shipping a bunch of film cans to the lab for processing and scanning.
  7. I don't know anything about that model of monitor, so unfortunately I have no idea. But yes, you'll still need the Ultrastudio because it's not about having compatible computer ports. It's about converting color spaces and getting a broadcast legal video output out of the computer. You should try asking grading specific questions over at: http://liftgammagain.com/forum/index.php, a professional color grading forum. You will get more specific answers there.
  8. That 'dumb cluck' has an Oscar for best original screenplay, and has also worked with a ton of great directors over nearly 30 years. I'm sure he's picked up a few things in that time. Just sayin'...
  9. Please don't post the same topic multiple times. You've already started a thread on which computer to buy for editing that people are responding to. If you want to update your question, continue posting in that thread instead of making a new one.
  10. If possible, hire a post sound mixer with a home studio to run it through their system and tweak the levels at least. They should at least have a 5.1 setup that approximates the movie theater. No idea about the video settings, sorry. Your test sounds like a good idea. Maybe also test to see if you can simply plug in your laptop directly to the HDMI on the projector. Just in case the Blu-Ray player doesn't work.
  11. Don't know anything about that model, sorry. But for grading, I think you actually want a TV or broadcast monitor with HDMI or SDI. The reason is that computer monitors operate in a different color space (sRGB, Adobe RGB, etc) from broadcast video monitors (Rec709). So in order to accurately preview how your work will look on TV monitors and home video projectors, you need to work in Rec709 color space. Editing programs like Adobe Premiere and grading programs like Davinci Resolve have those proper video outputs available to you, as long as you use a device like a Mini Monitor or an Ultrastudio HD to convert the signal. You connect the device to your computer's Thunderbolt port, and the device to the TV monitor with an HDMI or SDI cable. Then the program recognizes that there is a video monitor attached and outputs a proper Rec709 video signal to that monitor. If you just plug your TV or computer monitor directly into the computer via HDMI, then the computer will simply treat it as a second computer screen and not convert the signal to broadcast video standard. Which is fine for editing when you simply want to have a larger workspace. But if you want accurate looking video, you need to pass through a conversion device first. So just using any computer monitor with an HDMI port is a bad idea for color grading. You can use that monitor for your GUI or as a second screen for more work space, but you can't rely on the color or contrast to be accurate.
  12. The 16mm Super Speeds should fit the SR3, they are no larger in diameter than the 35mm Mk2 Super Speeds. Maybe some of the wider ones have mirror clearance issues, I don't know. The Ultra 16 lenses are the same barrel size as Ultra Primes, I know for a fact that they will fit an SR3. You may lose a bit of viewfinder orienting movement and not be able to swing it around as freely (it's been years, so forgive me if I can't remember the details), but I've used this combination before. Those are also the sharpest and cleanest lenses by far for the Super 16 format.
  13. I don't think you really need to shake the set, unless there's some specific story point that requires it. You could try shooting plates ahead of time and projecting them outside the windows to get interactive lighting on the windows and seats. And then maybe additional lighting rigged outside for more effects to help sell the effect.
  14. I think also there is a big difference between narrative films and documentaries, interviews, industrials, etc. In narrative filmmaking, action is usually blocked to the camera. There's time to discuss the shots and to design compositions into a sequence. Almost everything in the frame is intentional. So to re-frame these compositions is to effectively re-design the sequence in post. Sometimes, that's necessary to make a sequence work. But usually not very often if the scene has been shot and directed well. If a shot has been re-framed in post, 99% of the time that is not the DP's choice - it's usually either the editor or the director making that call. On the other hand, in documentary work and especially interviews, you often cannot control the frame to the same degree. Actions are not repeatable. And if you do not have multiple cameras for interviews, punching in is sometimes the only way to cut without resorting to b-roll or jump cuts.
  15. You definitely won't be able to get a professional grading monitor for 400 Euro. Those cost at least 4,000 Euro, if not more. You probably won't even be able to get a decent 4K TV for 400 Euro. But if you're serious about getting into color grading, I would consider looking at used Panasonic plasma HDTVs from the last few years. Those have the ability to produce rich blacks and the color can be quite good after calibration. I have a Panasonic Viera ST50 from 2013 that was around $1000/new, I think. Just looking on eBay, more recent used models are around $400, so under your budget. It works well enough for home grading on my Mac, along with a Blackmagic Mini Monitor and Davinci Resolve. The Mini Monitor (which converts the video on your computer to broadcast standard video for proper viewing when used with editing and color grading software) is $150, and Resolve can be downloaded for free. That's about as cheap as you can get, I think.
×
×
  • Create New...