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Raj Kowoski

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  • Occupation
  • Location
    New York
  • My Gear
    BMCC 4K EF
  1. Guys - Just wanted to reach out and say "thank you" for all your input in the making of The Emeryville Experiments. Cinema will be available on iTunes/Amazon on August 6th. raj
  2. Please check out my listing at http://www.ebay.com/itm/-/141773221440?
  3. Hello: So, we are wrapping up our sound design (minus mixing) and post work (coloring/VFX) in 2 weeks on "Emeryville". I'm looking for a QC house, preferably in NYC, who can perform Quality Check on Audio/Video so defects can be fixed before I let my post-team jump off the project. Does anyone has any recommendation on Post house that can assist with QC report? thanks in advance, raj
  4. We shot in Manor, Texas. A place called Ghost town. A lot of what you see are VFX. Thanks. Raj
  5. Photography gurus: As promised, below is link to a few images. https://youtu.be/7Z_SZNDhfzM Raj
  6. Update: Been a month since we wrapped our 8-day shoot in Austin, TX. Without 2 cameras, it would not have been possible. DP showed up with Canon 100, sound equipment and more lights that we could have used. Cutting trailer now and will post link once done. Footage shot on 1080P Prores 422 except one shot for VFX shot on 4K. Have about 1.6 TB of footage (I'm sure 30% will be junk). Plenty of coverage, I think. Total of 12 locations, 13 speaking parts, 9 crew members (DP, Art, AD, Sound, Makeup, Grip plus 3 PAs). Average of 11 hours per day. Shot 4 days. Break. Shot the remaining 4. There were pockets for 2 days where crew was ideal for 2 hours each waiting for Sundown to shoot night scenes. Ended up using 2 1250 watts HMI for a few night scenes. 2 rental generators were live savers (Honda 2000 & 3000). Flew in April 3, DP drove (22 hours) April 5, began shoot April 6, wrapped April 14, Flew back April 15. Initial colored footage on DaVinci looks great. Don't take my word for it. Be the judge once I post trailer link by June 15.
  7. What about roles? Saw youtube video that explains how to label each of the audio tracks as role and set each audio track as mono before you export as QT file. It retains all those audio tracks that can be sent to sound designer. Anyone else done that?
  8. Hello: We shot a feature using 2 cameras - BMCC 4K and Canon 100. Sound mixer has provided 4 tracks for each take. I laid down both videos on FCPX timeline and synced audio files below. In short, I have 2 video tracks and 4 audio tracks for each track that I know plan to edit. Question: When I render, .mov file consolidates footage and audio into 1 mov file. How do I provide my Sound designer raw 4 dialogue tracks that he can use for miXing? Is there a way I can output 4 audio tracks from final picture lock that Sound designer can use along with a timecoded Video track?
  9. Thanks, Tyler. Got off the phone with Atmos support and they recommended that I don't have to go through conversion. FCPX has built-in functionality that will drop the extra frames when I drop the footage to timeline. Confirmed that it works. So, I have the same timeline set at 1080P, 24fps that shares 29.97i and 24 p footage. Hope this helps.
  10. Just finished shooting a feature with 2 cameras - BMCC 4K and C100. Recorded at 24fps, 1080P, prores 4:2:2. C100 recorded on Atmos Ninja via HDMI. So, recorded footage is 60i. When I import .mov file, it comes in as 29.97i 1080i. Using Apple Compressor to convert 60i to 24P prores 422 and noticed that final converted files are half the size of source files. Is that normal? Are there any other 2:3 pulldown software that leave the image quality intact?
  11. Shooting a feature in 3 weeks and ironing out the workflow as suggested by a few folks on this board. Final workflow I have is: 1. Shoot c-log on Canon (24fps) and Prores 4K (24fps) on BMCC. 2. Pick the best shots and have colorist color\grade them to match desired look in DaVinci. (I know this is an overkill but adds simplicity and round trips) 3. Export color corrected footage in high-res .mov format. 4. Import footage in FCP X. Lay audio. Edit. Add FX, Transitions, Titles etc..Edit Lock. 5. Export Audio file. Send it out for Post Sound mix. ALong with Burnt Timecodes .mov file. 6. Audio creates DM&E tracks and provides a final master mixed sound file. 7. Lay final audio file. Export master out. Questions: 1. C100 image size is 1920 x 1080 while BMCC 4K is 3840 x 2160. For editing in FCP, what should base template be? If I use 4K, c100 image would stretch out to fill the size. If I use C100 frame as baseline, 4k image will shrink to match. Any advise? 2. Any issues to expect since source footage if from 2 sources or would my colorist know how to deal? ANything I can do to make his life easier.. Many thanks - raj
  12. Guys. If it's too good to be true, it 'probably' is not. Having said that, my expectations from this dude are way low & for the $$ & time I have, I'm by no means looking for someone to shoot "Lawrence of Arabia" for me. Reality is, as long as he is good at framing and pumping that c-log file with higher bit rate, I have a shot at post color grading etc. Granted, not an ideal shoot but will have to do. Images for me are a luxury (It is a personal choice, no offense) and will always take a back seat to Story, Acting and Sound. Plan is to have rehearsals. Get shots in order of priority within a specific window. Will be shooting wide shots with my Black Magic Production Cinema Camera as well (second camera). My bigger concern is talent and their readiness & MUA. Otherwise 60% of Master Shots with a few close ups & inserts for cutaway. Wasn't "Little Shop of Horrors" shot in a day and half?
  13. Many thanks for keeping this alive and insights. To answer my own question, yes. I was able to find someone in Virginia who has a full service company. He's been in the game since the 80's and owns lights that should be enough for my needs. In addition to basic 1000/650 watts tungsten, Kinos, gels, flags,several c-stands, dolly etc, he also owns 3 1250 wats HMI that I plan to use for night scenes. He will bring his lights, c-100 camera (including steadycam). set of prime lens plus 2 grips to this 8 day gig. Thanks, raj
  14. Many thanks. I own Black Magic Cinema Camera 4K EF mount. Plan to use Rokinon Cine lens. 24mm for wide, 85mm for tight. RAW may not be an option but would like to see is color grade material is significantly different between HD, Prores 422 and RAW for an average human eye. Especially on screen less than 100 inches. From what I've read, ISO 400 works best with 4K. Table above i plan for BMCC. Not sure if there are equivalent tests for Canon esp. if I shoot c-log. I will post results in couple of weeks with some sample videos.
  15. Hey David:-) We met in late 2004 in Austin when you were down to shoot "Dot" at UT. I remember buying you dinner in downtown with my Associate Jenny in exchange for photography wisdom;-). As long as masses (including me) buy that "film" look, I'm golden:-)
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