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Evan Warner

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About Evan Warner

  • Birthday 04/11/1986

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  • Occupation
    Student
  • Location
    Vancouver, Canada

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  • Website URL
    http://www.mysterycreative.ca
  1. wow that is really great! I'm a soon to be film graduate at Simon Fraser in Vancouver, we are set to take a tour there in a couple weeks. I'm currently working on s16 film transfered to Apple ProRes, do you think they can apply the grain reduction to that? Cheers Evan
  2. Hey Thomas, Thanks for you info. I just conformed in within Cinema Tools and it seems to be working great! Also I changed my name David, sorry about that, I didn't realize. Everyone else thank you for your help
  3. That was very informative Micheal, what does that mean in my case? If it in deed was transferred at 24fps then will the cinema tools method work, will I lose quality? I am going to contact the lab tonight and see what they say too.
  4. Hey Guys, I will check out Cinema tools. let me explain to you exactly what we had done though. The entire film was shot super 16mm with seperate sound recorded to a fostex in 16bit, 48khz mono. It was transfered via a spirit and davinci to both HDCam ( as a backup) and Direct to drive. The Direct to drive was encoded in ProRes 422. Opening both Principal and reshoots up in quicktime and going to the inspector gives me 23.97 and 24 fps resepctivly. This is not and never was 29.97 material, I believe it came directly from film at 24fps and was captured that way. Within FCP if I let FCP match my sequence settings to the 23.97 stuff then the 24 stuff plays back with a green line (real time preview) and visa versa. I'm using a Octo 2.8 Mac Pro so its not a huge issue. Thomas, I don't understand how the frame rate won't matter?Also I didn't realize that this was a problem until after I had synk up my sound. If I do this method am I going to have to redo all of the syncing? I appreciate all of you help Cheers Evan
  5. Hey All, I Recently got the re-shoots for my super 16mm short film telecined directly to drive (with an HDCAM backup) in ProRes 422. However after checking out some things I noticed that our principle photography was telecined at 23.97 FPS where as the new reshoots was done at 24 fps. In Final Cut Pro this causes me to render which is ok but I am most worried about sound. When I'm doing my sound design in pro tools and then go for my mix am I going to have issues? Should I be converting the lab reels to 23.97 before I edit them so they match up? What is the best way of going about this? Cheers Evan
  6. Hey Ben, I do agree with some of the other comments, you really need to make sure you understand the fundamentals of film before you embark on a project like this. Anyhoo, now that yo have your project sound pretty much identical to mine in terms of production and post. I shot 2000 feet of 7218 three weeks ago which I am making into a 10 min film, hopefully finishing to HDCam. Here is what my current post workflow is. 1) process your negative at the lab. Dunnno where you are but here in Vancouver it is costing me 15 cents per foot as a student. 2) Get them at the same time to prep the neg for transfer ( they add leader to the ends and coat it in some sort of chemical. This is standard and I think most labs will do it automatically anyway) 3) Get the film telecined. I'm on a very small budget so I searched around and found a much better deal at a place in seattle so I'm taking it there. 3a) Pick your HD flavor, like others have said there are a wide range of HD flavors and depending on your budget and needs some make more sense than other. For my project I have talked to the transfer house and have decided to get ProRes 422 HQ files directly to harddrive AND a HDCAM tape backup. **why ProRes and not uncompressed??** I'm sure lots of people have different opinions and might agree or disagree with me on these points but from all my research this is my conclusion. Uncompressed You really cannot get any better quality than uncompressed but it comes at a high cost. You need very fast RAID to playback and edit the film. If you are willing to invest money into this then this may be fine for you. For interest, my 2000 feet of film (55mins) would take over 400GB of space. You have over 3x the film as me so more than 1.2-1.4 terrabyes plus you will need to add in quite a bit for render files, sound ect. AT least 2 terabytes I'd say. This is very doable but you need to do the research and have the money. I really cannot afford this. You could do an offline edit ( making a copy of the footage in a smaller format and then going back tot he high quality only at the end) but I have not had good experiences doing this in the past and it also can become a problem if you are doing any FX work. Prores (only works with Final cut pro 6) After coming to the conclusion above I too was looking at going DVCPro HD but then Prores came out. It is supposed to be visually loss-less ( meaning you can hardly tell the difference between it and uncompressed). It is much smaller, about 80GB for my project and and 350GB for yours and it doesn't require a super fast raid either. I'd recommend a pretty fast computer to do this but the same would be true for uncompressed. Anyway, will you lose some quality? yes. Will it be really that noticeable? I think no. This is the path I am going. 4) Once I do all my editing and color correction and FX in ProRes 422 then I am hoping to go to a video suite in town and get the final project dubbed back to HDCAM for screening and for festivals. I will say that I am just at the same stage in my project as you are so this is a new process for me too but I have been thinking about it for 4-5 months and trying to put all the pieces together. If your budget is significantly more than mine ( ie. not all coming from your own pocket) then maybe things will be different. The entire reason why I chose this process is because a) it cuts cost in exchange for my time B) it allows me to edit and color correct and do FX work all in-house ( good learning process) c) I'm rather interested in these types of workflow issues and can see my self doing more of it in the future. So yeah thats what I'm doing and it seems as though our two projects have a lot in common. Where are you based if I might ask? As for everyone else, what do you think of my proposal? Sorry for the word vomit, I've been trying to take so much in, guess this was just a chance to spit it all back out =) Cheers Evan
  7. Hey guys, I know there have been a number of posts similar to this but none has quite covered what I am lookign for. We have shoot regular 16mm and edited our final cut on a stienback in the old cut and tape method ( really makes you think about decisions). From our workprint we had a negcut done and then a paliminary telecine of our first MOS anwser print so that we can do sound design and eventually sound mix at the sound house using protools. After that we have our sound sent to LA to get an optical track put on our print. This means that our final output is 16mm film for festivals and such. Of course we will also want a digital copy for distribution. What I am wondering is this, on a limited film student budget, does it make any sense to do our final telecine to HD rather than SD? Here are my thoughts HD will have a better resolution and will be better for theatrical release however we will already have a 16mm print for that purpose. HD won't make a difference if we are going to output to SD DVD anyway? The lab we are dealing with does not do direct to HD transfers. They will only go to various HD tape formats. Perhaps they could then upload that to a harddrive for use but that would cost I imagine. Otherwsie we would have to rent a HD deck with I hear is very expensive. With all of these factors in mind do you guys see any reason to go HD or would a DigiBeta be fine? We also don't have a Digibeta deck so the same thing as HD would apply here but I am assuming it is less expensive. What are your thoughts? Cheers Evan
  8. It also totally depends on what the additude of the program is. I'm a student at Simon Fraser in Vancouver and my application said that demo reels could be sent but would not affect admisson. I sent one anyway and I think it did matter but as was said before, most universites (collages may be different) are looking for intelligent, open minded creative people who may or may not have any film or video experience. So I reconmend sending in your most origonal and creative work and keep it short. If they do 100-200 aplictaions they will not watch 20 minutes videos. Lastly, and I'm sure that this varies from school to school, but in my case overtly flashy, cliche and often trendy music videos, tradditional holylwood narratives or special effects flicks were down apon. This may not be the case for you school but #1 you should scope it out to see what thier overall philosopy is (one of my profs has repeatdly stated in lecture " hollywood is evil" ) and number two once you have figured that out apply to a school which has the focus that interests you the most. Just becasue a school has the best gear and market placement doesn't mean it is the best place for you unless that is the path you wanna take. Lots of things to consider! Cheers Evan
  9. Very true. It's just a unfortunate event to happen. How does negitive insurance work? Not that it would help here but I'm just curious in general. Cheers Evan
  10. Hey Guys, Thanks for the responses . Considering all of the factors involved , we came to the conclusion that it was the lab becasue we never rewound it in any way. Although they won't admit it was thier fault they also won't deny it either so they have agreed to give us free processing for the rest of our pickups. With some film that the university is willing to give us we have come out finacially even although we of course have to invest quite a bit of time and resoucres into reshooting what we did. Regardless, it the best we can ask for given the circumstances. I'd still like to find out exaclty what caused it but we may never know. I just don't see how pressure liek that can be caused in camera. If the loop were off I'm told the camera would sound funyn or not run at all. This was not the case at all. Cheers Evan
  11. Hey Guys, Last saterday we spent a day doing pickups for a short film I'm working on. The day went really well but when we called the lab to go pick up the film they said it had big problems. Here's the details. We were shoot 16mm 7218 in an eclaire ACL. What is appearing on the film is blue diagonal lines going both directions. This happen through out all of the film which is very suspisous considering the following. 1. We shot the material on 2 Weekends 2. Becasue we are film students the gear was returned and sucessfully used by another film ( which I camaera assisted for) inbetween shoots with no problems. 3. It happened in both mags which we used. 4. We used two rolls of film, both sealed, one directly form kodak and the other still new but from a fellow classmate from about a month ago. It had been refridgerated. I gather that because it's blue that it is an emulsion scratch and is unfixable. None of my profs or the guys at the lab said they had ever seen anything like it before. The lab guys thought it might be caused by pressure of some sort. They asked us if we had rewound the film which of course we had not. My prof thinks it was caused by the lab but they will be the last ones to admit it. Regardless, has anyone else ever seen this before? Here's a diagram of what it looks like. Also apon a closer look it appears as though the blue streaks go through the fame line and apear on the next frame in some cases. What do you think? Evan
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