HDV doesn’t respond to de-interlacing like PAL

[Jeremy Garchow]

[Alan Okey] “Those who are willing to take the time to do some proper preproduction research are the ones who will reap the greatest benefits of new formats and workflows. “

Uh, can I get that on Beta?

[Llewelyn Roderick]

Hey Alan and Jeremy

You’ve both got a point (and thanks for the sympathy!).
He shot the doccie with his own money and HD was not an option. In fact he started shooting DV and switched over to HDV after the first year’s filming and ended up minimising the DV footage to less than 15%. If he was shooting today he’d probably shoot on the EX1 and have progressive as an option.

He also happens to be an Emmy award winning filmmaker the film in question has just been accepted into competition at IDFA, so something is workging for him. (The video finish if you ask me 🙂

But the bottom line is, as Alan said, if you want the film look you shoot in film. However, 99% of doccie producers can’t afford that in our market and so I have to constantly look for ways to give video a more organic and less “news at 9” look.

Interestingly enough, I’m finding that with the sudden explosion of new formats that there’s a growing demand for video finishing expertise. During the “DV era” every filmmaker who shot a doccie or short film bought a mac with FCP and finished their own work. Now with HDTV becoming increasingly common the demand for HD Masters is increasing and suddenly filmmakers need professional help again. I’m spending a helluva lot of hours on the phone with producers who are about to embark on a shoot to design their work-flows which is very encouraging and will hopefully avoid situations like the one I’m in.

cheers for now…

Llewelyn @ Fireworks
HD for indies post production
http://www.fireworksfilms.co.za

[Alan Okey]

[Llewelyn Roderick] “Interestingly enough, I’m finding that with the sudden explosion of new formats that there’s a growing demand for video finishing expertise.”

[Llewelyn Roderick] “I’m spending a helluva lot of hours on the phone with producers who are about to embark on a shoot to design their work-flows which is very encouraging and will hopefully avoid situations like the one I’m in. “

It’s funny that you mention this, I’m finding the exact same thing to be true in my work. I’m still baffled that people are willing to pay me money to tell them information that is freely available to anyone with the patience to look it up online. I guess that’s the beauty of consulting. I have to remind myself that some people either don’t have or don’t want to take the time to do all of that research, or may not have the technical mindset to be able to process all of the available information and reduce it to the relevant details.

Even though I’m not a DP, I find myself increasingly going through workflow with DPs, directors and editors prior to their shooting projects just to make sure that they’re shooting in the right format, capturing media properly and working with the correct editing project settings. With all of the available flavors of HD, compression schemes and progressive formats, it’s fairly easy for someone to overlook a critical detail in the process and end up making things much harder than they need to be. Not to take anything away from the talent of the people involved – it’s just that the complexities of the workflows ushered in by new formats can be hard to keep up with, especially if it’s outside your primary area of focus.

Those who are willing to take the time to do some proper preproduction research are the ones who will reap the greatest benefits of new formats and workflows.

[Alan Okey]

[Jeremy Garchow] “Uh, can I get that on Beta?”

All I have is 3/4″ U-matic or 1″ open reel…

😉

[Graeme Nattress]

Mine should be ok for 10bit. However, the adaptive ones I have in Color are quite nice indeed and with the ColorFX room you can do all kinds of clever stuff too.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Paul Redgrove]

Try working in the “multi-tasking” environment where everyone thinks they’re a camera op or editor!

I’ve found de-interlacing on it’s own is never enough if anyone has a fool-proof method with video love to know it – me I tweak grain, vignettes etc etc ad infinitum 🙂

Paul Redgrove