Oscar Petersson

Looks a bit like this.

Have an old project shot on s16mm, transfered to HDcam tape (50i I think) then later transfered from HDcam tape to Prores 1080p. I noticed that two scenes have some interlacing effect when person/object moving sideways. Its on the Prores file. When i export to mp4 in DaVinci resolve and Premiere Pro the problem remains, BUT when I export in handbrake the problem goes away. Ive tried using the deinterlace function in Premiere but it doesnt help. Can anyone explain this? If the interlacing effect is on the Prores file it means it hasent been encoaded right from the HDcam tape, right?

Yes, i found the solution. just set the resolution to custom and its fine. The subtitle issue remains...

When I try to encode a file in Handbrake in my MBP it changes the resolution slighty in the output. For exampel if the original file is 1920x1080 it becomes 1918 x 1036. Very annoying. Have the latest version. Have tried many files. In my PC I dont have this problem. Also, when I wanna include subtitles theres no button for it in the mac version. In the PC version theres a button that says add subtites. Anyone know why? Unfortunately my MPB is faster than my PC so i perfer to use it for encoading.

OK, thanks guys. good stuff. I'll probably use DaVinci then for the ProRes master. What about using Handbrake to encode the mp4/h.264 if i use the ProRes master? Can it even compare to Premiere or DaVinci? The reason why im thinking Handbrake is that I may wanna export it as an .mkv file, and I find it easier to import the subtitles in Handbrake...

I have a prores file that needs some editing and then I will make a new prores master and from there make a mp4 file. For the editing I can use either, so which encoder you think gives the best result, Premiere Pro 2018 or DaVinci Resolve 16? Or maybe it doesn't matter?

Thanks, this sounds very interesting. I'll check it out. I'm not sure if it's right for my footage, but for sure there will be more solutions like this in the future. But yes, setting the focus right on set will always be the best solution. Thanks everyone for your advice.

That's a super weird thing to say... any editing and grading software has sharpening tools these days. Of course the result will not be as good as shot in focus which is exactly why I'm asking what is the best way to do it.

What is the best software/method available to sharpen footage that has been shot out a bit out of focus? In this case its old S16mm footage converted to Prores Full HD of two people talking,. To to sharpen it without adding more noise would be the best. What is the the best high end solution for this? And how does that compare to the cheaper solutions like premiere?

Took me 2 sec too google it n find out its 100m. I got 164ft by converting 50m to feet. Yes I think you're thinking about some other cable...

A client wants to use a small Sony camera like the FS7 or Pxw-z280 for a shoot and wants to live feed it to a screen with a 50 meter (164ft ). I remember had problems doing this before with a Sony EX1 cause the signal was not strong enough from the camera, and we ended up getting a bigger Sony camera. What would you say is the maximum length of an SDI cable from those small cameras? I realize it depends on quality of the cable, etc but if you have any general idea, it would be helpful. thx.

Thanks Dom. Good reply!

Have two general question regarding broken rented equipment. 1. If I rent a camera from a rental house and I have an accident and break it, is it normal for the rental house have me pay not only for the repair/replacement but also for the loss of income during the time it takes until he can repair/replace it? 2. If I rent a camera from the rental house and it has a technical failure not caused by me and not possible to fix/replace during the day of the shoot, could I claim loss of income from the rental house then for production expenses, not being paid by client, etc? Let me know what you think in these two cases and what your experiences are.

Yeah, true. I would not do the same job again under the same working conditions.

I love China but hate seeing the workers there being abused and taken advantage of all the time in ways that would never be accepted in a developed country.

Yes, there is VERY little goodwill in China. Whatever you can squeeze out of someone for every job from both sides is fair game. I probably would have been willing to replace the lens cap out of GOODWILL if I felt I had been very careless or mismanaged my job, but in this case really I felt it was the result a project that was understaffed and under-budgeted. This particular production company uses the same policy with their in-house staff whose salary are probably way lower than mine. There a good reason we have laws against this in developed countries. We don't wanna be like China where waiters personally have to cover the cost for the restaurant if a customer leaves without paying from "his/her" table.

@Satsuki Murashige. Well said. Yes, an employer deducting these losses from his labor is illegal in my home country in Europe too. The employer could claim damages but would then have to prove that the employee have been damaging or loosing the item on purpose, which is almost impossible and in reality almost never happens. And I think that's the point here, no one loses or destroys things on purpose, but given the nature of a film production it's inevitable that it happens sometimes. Not seldom due to the stressful situation created by the producers. And to then say that the cameraman or 1st AC should be personally responsible and compensate is just wrong in my mind. Its almost like asking a soldier who lost his helmet fleeing from the enemy to deduct the cost from his paycheck...

Yeah, China is a special place to work in. No unions, no insurances, no regulations (that anyone follows anyway)... The only real language people understand here is money.

For this item about 50 USD. It was rented by them so its what the rental company charged them.

Hope this is not the wrong place to ask this. I did a shoot as a cameraman lately which involved a lot of running around with a heavy camera and somehow I lost the lens cap and now the production company wants me to take that cost off my salary. I was hired as a freelance (no written contract) and the company provided the equipment so in my mind its the company that should take this cost... Its not about the cost but the principal. What do you guys think? What is normal?

Hi, thanks for reply. Yes its very broad. Because of the flicker problem and the color temprature issue I had imagined that on a bigger budget film, they would just replace them all with Kino Flos...

OK, thanks. But how do you avoid the flickering problem these lamps sometimes cause?

Yes, you're right. It's a gate flare. Thanks! For some reason there's not much info about it online. Found some here http://www.reduser.net/forum/showthread.php?118848-answered-flare-and-ghosting

Many public and work places have these built in fluorescent lights in the ceiling usually behind a plastic cover. Would you ever use them when shooting a movie, or would you always have them replaced if you want to see this kind of light source lit in frame?

What is the name of that unwanted light effect that happens mostly when there's a light source coming from above (the ceiling) and creates an ugly beam or glow into the frame. It's not a lens flare. Lens flares can look nice, this one never does. You see it sometimes even in big budget movies especially when the camera is moving, for example down a corridor with lights in the ceiling. Does it have a name? How to best avoid it?