Dan Lahav

OK you just confused me even more with all the technical jargain... :(

Can you answer any of my questions...? Are you saying I should have transferred to Digitbeta? What about the second part of my question? Thanks

DVCAM has huge compression so....

 

most of the time for video output projects I get a cheap one light of all the negative rushes - this is then taken into your NLE (better to do this on DVCAM - cause of timecode)

 

then an EDL is done in FCP or Avid or Premiere

 

The EDL is taken to Telecine with the Negative and the rushes graded to Digibeta - called TK Rushes

 

Then a final audio conform etc is done with the AIFF, WAV files , EDL, titles etc in smoke, flame, inferno etc and output to Digibeta or higher - this is called the MASTER

 

thanks

 

Rolfe

<{POST_SNAPBACK}>

Bare with me since I'm somewhat of a newbie... I recently had some Super16 footage telecined by CCI in LA. They are equipped with Davinci 2k and Spirit. The quality on the monitor was incredible during transfer. I had them transfer to DVCAM. Was this a good idea? I realize DVCAM compression gets rid of some color information, but what other pluses and minuses does this format have? I ask because I hope I transferred to the right format...

Also, I'm probably going to be editing my film on Sony Vegas or Adobe Premiere/AE. What should I render out/set my timeline at? 24P w/ 2:3:3:2 pulldown? 30i? etc?? Thanks!

Thanks so much guys. This newb really appreciates it :D

thanks for the reply. nope, no test was shot. I guess i'll have to find out how i did in telecine.

I recently shot a very dark bar scene with a Aaton LTR54 super16 cam and 7218 stock. I didnt know the shutter angle for exposure so i just set the light meter to 500ASA at 24FPS. How accurate do you think my light meter reading is? Does anyone know the shutter angle of this cam?

I'm kind of a newbie so bare with me. I'm shooting out in the desert with 250D vision2. What does this stock look like overexposed 1 stop? I want lots of detail in the shadows of my actors faces but am not sure how to achieve this. They will be in a convertible with camera on a hood mount. I want the surrounding desert to pop while maintaining good exposure on their faces. The sun most likely will be beaming toward or overhead (unfortunately). Thanks.

Well done Brian. I go to film school with this guy and he knows his stuff. Keep up the good work.

Thanks for the replies. What's breadboard?

wow, nobody? Am i too much of an amateur for you guys?

I'm shooting a super16 student film that's coming up soon in the Anza Borrego desert (SoCal). The film is much like Thelma and Louise meets Fear and Loathing in LV.

The shots mostly consist of the characters in a convertible...so car mount shots, in-vehicle shots, and some shots of the car from another car. There will also be shots of them outside the vehicle roaming the desert.

I'm pretty new to all this, so can you guys recomend a good way to control harsh lighting from the sun? We will not have any lights or electricity whatsoever. I'm thinking that just bringing some nets and reflectors will suffice...but other tips would be appreciated.

Secondly, we are also doing a nighttime bar scene (during the day) that i rented some kino's, a 650 and 250 kit w/ chimeras (from school) for. Any tips on how to light a small, VERY dark bar as well? I want it dark, warm and moody. Do I need a fog machine? gels? Sorry if these questions are vague.... Thanks in advance,

-Dan