From a finishing and FX house perspective….

[Moody Glasgow]

My thoughts exactly…

moody glasgow
smoke/flame

[Brian Mulligan]

If FCPX had BITC then it would make eye matching that offline easier. 🙂

[Michael Pierro]

[Brian Mulligan] “If FCPX had BITC”

Wait, wait, wait… It doesn’t have BITC? Really? That can’t be right! It’s not included as one of the filters?

[Misha Aranyshev]

Just thirty per cent? The recent fashion trend is to cut video-assist footage. I did four features of 100% eye-matching conform.

[Aaron Neitz]

[Michael Aranyshev] “Just thirty per cent? The recent fashion trend is to cut video-assist footage. I did four features of 100% eye-matching conform.”

AH!!!!! Tell me you’re kidding?

It’s definitely been getting worse. Just when you started to get a handle on reliably reconfirming RED then comes along a dearth of 5/7D footage.

[Nigel Thompson]

Video Assist footage ???!!!!!!!!! You cannot be serious !!!!!!!!!
OMG and i thought i had it bad ……..

Where do these idiots come from?

RED,DSLR, FCS and more,
High End, Production & Post Production
in the Caribbean
http://www.bistt.com

[Gary Huff]

The same idiots who can’t even tell that skin tone isn’t supposed to be a shade of orange?

[Misha Aranyshev]

See, I’m editor. This is nothing for me. 🙂

OK. It goes like this:

A producer comes to me saying he secured the postproduction budget from a studio but all the post guys turn the job down with sound people using the strongest language. Turns out he has a DVD that was made from 25 fps DV shot off a screen of assembled workprint projected at 24 fps. He has workprint too and the original negative untouched. The film doesn’t need a lot of CGI but serious amount of rotoscoping, matte painting and retouching. I also feel that digital grading would help it a lot.

I tell him to order a set of DVCAM dailies with proper burn-in and reassemble the cut. Now the sound guys are willing to negotiate. The nearest film scanner is 3,000 kilometers away so I make pull-lists and cut-lists to cut the negative to reduce the shipping costs and customs. I get the assembled negative transferred to DV again to check against my cut, correct errors then take it to scan and back. The rest is just regular DI.

Here it is: https://www.imdb.com/title/tt1464239/

The other three were RED. They cut on–set playback. I take all R3D’s, make “digital workprint”, reassemble, generate EDL’s and feed it to Monkey Extract. Depending on whether our colorist decides to work natively or not I either tell Monkey to pull the needed R3D’s or render to DPX. It’s really smooth except BTC in RED videoassist output is always ahead of the TC in the actual clip by 3-6 frames.

[Misha Aranyshev]

[Nigel Thompson] “Where do these idiots come from?”

You’re relatively safe for now. They all come from Kazakhstan.

[José luis Martínez díaz]

Michael,

I dunno if you are a catholic, but you should be canonized…

J