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Marcus Frakes

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  1. I also have an Eclair NPR and picked up a Manfrotto 075b. It's rated to hold the weight and cost less than 200 bucks. A decent spreader can help stability as well.
  2. Just had an appt with at the telecine. Here was this beautiful Spirit 2K machine, yet the producer called earlier and asked the 35mm reels be scanned in at PAL (720 x 576). Is this normal?? I know it's a commercial and will ultimately be broadcast in PAL but is seems such a huge waste to downres this much. Also now that it's on digibeta tape, what type of video format is best to transfer to my harddrive? An uncompressed PAL .mov file? AVI? Will I lose anything by asking for these? What format is most likely on the tape now?
  3. I played and transferred a DV-Cam signal on my old Sony TRV 900.
  4. Thanks for the replies. It sounds like getting it direct to Harddrive is still not commonplace at most TK houses....too bad :o it would make life easier. So getting if digibeta tape is the norm we'll go with that and deal with renting a deck or using a transfer service. BTW. the commercial will be broadcast in PAL, so I believe SD is what will be telecined. Typically they don't scan in HD if the final output is in SD??
  5. A client is getting a one light 35mm commercial Telecined. We will add visual effects. Is it common to request an output to my Harddrive as uncompressed video or a TIFF / TGA sequence?? How much space is needed for say 10 minutes??
  6. I was consulting on the visual effects scenes. I found out from others that the DoP gets irrate whenever he has to do extra takes (makes sense). But if there's motion in the forbidden zone or NO clean plates, they will pay for it anyways (that is IF we can fix it). But I'm gathering that because that's on the post end rather than production, his "numbers" will look better?? :o thanks for the input.
  7. Had a strange experience on location for a feature. It felt like people just weren't into being chummy there.... I understand that you keep out of the way of production, don't approach the "big name stars", don't say "Howdy" to the director and blab how much you liked this film or that. I did ask the DoP if the camera he used had a Viewfinder shutter (was met by an "uh huh" response). I guess it just felt weird. Are most sets expecting you to like shut up, do your job, then go the hell away? Is there somewhere a Code of Conduct written somewhere when you are on location? Why does heirarchy feel more like a caste system? I am always polite, clean cut, decent looking, respectful and usually successful in socializing. But I just don't understand why the attitude on most locations. Is it fear? Arrogance? Any insight into this culture would be appreciated.
  8. I went through this process and ended up with an Eclair NPR. It's built like a tank and heavy, so it depends on your shooting style if you are going to need lightweight, shoulder mounted shots. But you also need to look at the condition of any low-cost Eclair that's out there (30+ years old now). Mine had a crystal motor that wouldn't do 24 FPS. So I had to buy another. In the end, I'll have $4500 into it, including a conversion....getting a used Aaton would be great, but could you afford 10-15K?
  9. OK the DoP just changed the requirements to 2K, so I think we are out of the woods..... Our current network, render farm, and RAID systems should be sufficient for this project. Nooo, it's feature length. The 3 1/2 minutes of OUR work will go into this at various scenes.
  10. OK...today the DoP helped us out immensely and changed the requirements to 2K...so I think we have an easier path :)
  11. I'll try to be more specific. The feature requires us to add special effects. I believe the combined amount of footage we receive will be about 10-12 minutes. In turn we will composite and add effects to produce about 3 1/2 minutes of finished work. The DoP said we will receive the work in 4K film, to which he wants it delivered back in 4K film. I don't really have a choice on how the data will be delivered. From there he will downconvert to Super 2K? for the final writeout to film. My question mainly concerns hardware.... What type of RAID (SCSI UW320, SATA2, Striped?, etc) would need to be purchased to handle the job? I've estimated 600GB is sufficient? We will add effects in Adobe After Effects, Digital fusion, Combustion, etc. and be working with proxy files. Also is it typical for the job to be given to us on a hard drive?
  12. I'll try to be more specific. The feature requires us to add special effects. I believe the combined amount of footage we receive will be about 10-12 minutes. In turn we will composite and add effects to produce about 3 1/2 minutes of finished work. The DoP said we will receive the work in 4K film, to which he wants it delivered back in 4K film. From there he will downconvert to Super 2K? for the final writeout to film. My question mainly concerns hardware.... What type of RAID (SCSI UW320, SATA2, Striped?, etc) would need to be purchased to handle the job? I've estimated 600GB is sufficient? We will add effects in Adobe After Effects, Digital fusion, Combustion, etc. and be working with proxy files. Also is it typical for the job to be given to us on a hard drive?
  13. We are forging into our first 35mm feature length project. I'm hoping to get the data from the telecine on a hard drive (is there any other way?). Then working on it to add visual effects (about 10 minutes of the film). What storage/throughput is **required** to process a project this big? It's being scanned as Film 4k so I'm thinking SCSI 360 or "maybe" Rocket Raid with SATA 2 drives would do the job nicely?? Thanks
  14. We are forging into our first 35mm feature length project. I'm hoping to get the data from the telecine on a hard drive (is there any other way?). Then working on it to add visual effects (about 10 minutes of the film). What storage/throughput is **required** to process a project this big? It's being scanned as Film 4k so I'm thinking SCSI 360 or "maybe" Rocket Raid with SATA 2 drives would do the job nicely?? Thanks
  15. Cool guys...this helped alot. It's a topic not really covered in "typical" places. Thanks also London, yes I know about delegating. I just thought the line would be a little funny to the few who read it...and I'd never do ALL those things at the same time...just 5 or 6.
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