William Fischer

I've encountered a new problem: after using Resolve to render an .h264 of my ProRes file, and it successfully imported into my project. But after I rendered the timeline, no .mov file - ProRes, h264, or otherwise - will transfer over to the timeline, except for the audio. If I attempt to start a new project, I have that problem from the beginning; the only clip that will successfully reach the timeline is the initial clip that I place there. Everything still imports into the project successfully; it just won't transfer to the timeline. As I've said, I tried starting a new project; I've also tried clearing the cache, and working without the converted file. Nothin' doin'.

I have QuickTime Player 7.7.9, which opens the file just fine. I'll give Davinci a try.

Been scouring the Web in vain for an answer to this problem... I'm preparing a new sample reel at the moment, and I'm editing with Premiere CC 2017. Most of the files I'm working with are .h264 codec, but one old project is ProRes 422. Thanks to a hard drive crash, I don't have it available in any other format. When I import this project, only the audio comes over. I've tried all the recommended fixes - clearing cache, installing/updating Quicktime, and have been told by Adobe that this issue was fixed for CC 2017, but still no luck. Any suggestions?

Can't promise anything, but could you give a student bad at math a rough idea on how many feet of film your carts come to?

To clarify - I am one of the students, not an instructor. And I can't speak for any of my peers, but I'm pursuing this more as an interest and passion than a career at the moment, and I like a clean but old-fashioned look. What sort of timeframe I have to cope with, I'll know better when we get further into the school year.

Thank you everyone for the information.

Perhaps this belongs in the Students sub-forum, but... I will be starting graduate school in Galway this fall, and I am hoping that I can get at least one project shot on film. Could anyone tell me what the best options are for processing and transferring film in Ireland?

The film is done and available online, if anyone would care to offer some constructive feedback.

How pricey was the 65mm stock and equipment?

How pricey was the 65mm stock and equipment?

Variety covered the event in essentially the same way: http://variety.com/2014/film/news/scientific-and-technical-academy-awards-oscars-farewell-to-film-1201106325/

This is somewhat off-topic, but - could anyone with the experience/insider knowledge/local oracle offer an opinion on the long-term health of film as a viable option for capture medium in professional productions, or in general? At this point, I've no issue with the quality of digital. My concern is that it will end up as the only thing available. Oil paints and watercolours didn't need to die for Photoshop to thrive, and I just have an easier time with them.

So, I have a 14 1/2 minute short, saved three different ways: ProRes 4444, h264 at 1080 res, and h264 at 480 res. I need to make 20-some DVDs of the film. I have some extra discs to test with, and I've tried burning DVDs using the two h264 files with Adobe Encore, Windows DVD Maker, and DVD Creator. The Encore effort (with the 1080) had a choppy, blurred playback; the WDM efforts (with the 480 converted to .wmv) had smooth playback but badly pixelated image with interlaced lines, and the DVD Creator efforts (the 1080 and 480, set to "High Quality" under Options) had the best overall quality - no lines, smooth playback - but comparing the image quality I get from them on an HDTV to the quality of the source files on my laptop, they're still coming up short. I no longer have access to Encore, and DVD Maker's my only option if I want to avoid spending money on new software. Any suggestions?

Does anyone have any notes to give? Anything about colour especially would be welcome, as the next job with the footage (once our editor does her job) is colour correction. We went with Ektachrome I00D specifically because of its saturation level, in an effort to replicate a Technicolour look without having to meddle too much in post. Our school has Apple's Colour and Adobe After Effects to use, and I can't say that I've really enjoyed the results that our colour timer has achieved with those programs when working with images originated on film.

Another sample:

To off-topic from my own needs: does anyone know of any online samples of footage shot on 35mm Ektachrome? The dream in the back of my head to make a feature film on this stock in that format seems impossible now (though not quite as impossible as the dream of getting enough money to persuade Kodak to specially manufacture Ektachrome at 70mm for a feature), but I would very much like to see some examples of this film in that size.

Hi, I've posted this in a thread related specifically to the Ektachrome 100D film stock, but I'm looking for more feedback. This is a sample reel of footage shot for my undergraduate capstone film project, "The Rose Maker." It's a 12-minute fairy tale shot on Ektachrome with an Eclair ACL and various lenses, primarily in a studio lit by HMIs covered with Roscoe theatre gels (lavenders, blues, and yellows mostly), with tungsten lights used to simulate firelight. Exteriors were shot with the bare sun; various ND filters, an orange grad filter, and a Roscoe red gel employed like a filter were used in front of the lens. I'm the director of this project, not the cinematographer, but any feedback would be extremely helpful to me for learning what to ask a DP about, what to be careful of, how to anticipate what something might look like when I can't see the film, etc.

Well, we ended up with Nolo, and it ended up being two days worth of work to convert it from DPX to ProRes 444. While I do miss some of the rough edges (so to speak) of the MMT scan, Nolo did a very nice job for us. Here is a sample representing about half our total footage: We shot on an Eclair ACL with various lenses in a studio, mostly with HMIs (sometimes with Roscoe Theatre gels applied), and some Tungsten. The shots out in the woods were done with bare daylight with various ND filters and a red Roscoe Theatre gel as a color filter.

Been a while... My DP was able to come in to the money for a Nolo scan, but our editor is concerned about her ability to work with DPX log files, and frankly, so am I. To begin with, as students with limited server space at the school and harddrive space at home, keeping and backing up anything the size of DPX isn't possible. My DP's plan is to import the DPX files to Color, then export them as ProRes422 for our editor to use in Adobe Premiere CS6. I am not any kind of computer or post-production expert, but this seems like busywork for one and potentially a big risk if his plan doesn't work or takes too long. Our film is being developed as I type, and our schedule requires us to arrange it to be shipped from AlphaCine directly to wherever we scan the film. We also need our picture locked by a certain date and our sound locked by a certain date, and any delay can screw up the schedules of our fellow students. I was quite happy with the MMT results we got last time. I recognize its imperfections, but those are part of why I like it. The film we’re making is a fairy tale, and our goal was to produce hand-crafted, organic cinema to tie the story in to its folkloric roots. We didn’t just shoot on film; we built sets, painted flats, hung backdrops, are building a model, used camera filters for color effects, and did traditional matte painting. Obviously I wouldn’t accept total crap, but the MMT scan not being quite so sharp and smooth lends it a charm that I'm very fond of. And as a practical matter (I am producer as well as director), the MMT scan was covered by a grant we recieved from the school. My DP insists that he'll need the clarity of the Nolo scan in order to properly correct the film, but even on a less-than-decent scan by AlphaCine, we've gotten good colour information, and the Ektachrome has shown much more detail in dark areas than any of our faculty members told us was possible. I'm really quite nervous about this, so any advice would be appreciated.

With today's announcement about Ektachrome, I'm naturally concerned about still getting the film developed. We're scheduled to finish shooting in mid-February, and Alpha Cine have assured me that they'll still have the chemicals for color reversal then. Any reason not to trust that assurance?

We have projected tests that we couldn't afford to scan, and I am amazed by the colour. I really wish I had the budget to get the finished edit printed and projected, but there's only so much a college kid can afford.

You might know them by their consumer division, MyMovieTransfer: http://www.mymovietransfer.com/?gclid=CLDO5rm0grQCFSemPAod32QAhg The Bolex we were using is school equipment; they've seen a lot of years and all of them have a bit of jitter. Right after we were done shooting, they were sent off for repairs. Cinelicious is completely out of our price range. We're looking in to whether or not we can afford to go with Nolo in Chicago, but for now, MMT is our best option for the budget we have.

The second link is a scan pushed one stop brighter, which was thrown in free of charge. Both are 1080p scans done by Debenham Media Group, with the film developed at AlphaCine. When we compared it to the raw film inspected by eye, there wasn't any major difference aside from the sky being less hot on the film. Everything was shot on a Bolex fitted with a large Canon zoom lens (don't know the exact specs for it; I'm the director on this, not the DP), with a .6 ND on everything up until we hit golden hour. The footage will eventually be cropped to match S16 footage; our regular camera had blown a fuse for this shoot.

My favourite films list is loaded with animation, but for purposes of this board: Edward Scissorhands Casablanca Sweeney Todd: The Demon Barber of Fleet Street Tim Burton Steven Spielberg Francis Ford Coppola Gordon Willis Stephan Czapsky Dariusz Wolski

Thanks for all the feedback; David, I followed your advice on our notes to the scan house, and the film looks pretty damn good. On a slightly different topic; Kodak's own website gives Ektachrome a 3-Star rating for "Well-lit Studio (T)" conditions. The majority of our film is set to be shot in a studio lit with HMIs. Does anyone have any experience using Ektachrome under these or similar conditions?