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New FCPX confirmed for December
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[Oliver Peters] “Which is why it’s a really bad idea. The optics are wrong. On top of that, you are enlarging the compression artifacts inherent in the image. It’s OK in a pinch, but no director or DP should plan on that as a viable alternative to getting the shot in-camera.”
I agree 100%. “Fixing” in post will never look as good as in the glass and usually ends up costing more money in the end.
sw
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
[Oliver Peters] ” It’s OK in a pinch, but no director or DP should plan on that as a viable alternative to getting the shot in-camera.”
So on interviews, you are going to ask them to do it exactly like that again after you stop and change lenses to get the close up?
I know what you’re saying, but reality gets in the way.
Isn’t this was Red has been claiming all along? Use 4k to repo in 1080.
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[Jeremy Garchow] “So on interviews, you are going to ask them to do it exactly like that again after you stop and change lenses to get the close up?”
Most interviews I’ve cut lately were shot with 2 C300s or 7Ds or 5Ds or Panasonic HVXs. The alternate angle looks far better than the close-up punch-in. I’ve also seen punch-ins from an Alexa done with Baselight and the quality from 1080 actually held up well. Far better than the quality you get from a zoom on an NLE. Of course, for the interview, it actually helps to use a camera operator who actually listens and reframes accordingly. That’s if it’s truly run-and-gun.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Jeremy Garchow] “Isn’t this was Red has been claiming all along? Use 4k to repo in 1080.”
Actually no. They’ve been advocating delivering in 4K. That’s why they had to develop a camera that can do 5K and larger.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Of course, for the interview, it actually helps to use a camera operator who actually listens and reframes accordingly. That’s if it’s truly run-and-gun.”
I take it you don’t go on many interview shoots.
There’s no way in hell you are going to stop and, pick up the camera and move it 10 feet forward, and then have to move the lights/equipment, or change to a longer lens, and say “Ok, once more with feeling”.
It just doesn’t fly like that most of the time on interviews.
We hardly shoot with zooms anymore. It’s all primes. The Cabrios are wonderful lenses, and they can come close to what used to be done in the ENG days of yesteryore, but it’s a different ballgame out there today.
We try and shoot 2 cameras whenever possible, but two F55s or two Alexas will blow a budget to smithereens. Alexa, for the most part, is only 2k anyway (and a beautiful 2k at that).
I know that repo on 4k isn’t as good as shooting the 4k closeup, but in a blind taste test, 95.9% (actual fact) of the clients wouldn’t know, and I bet, even in the most Hollywood of Hollywood, highest end, whizbang, sizzle core beast equivalent of a movie, 4k images get repo’d (also actual fact) as most movies are shown in 2k. You mean to tell me they don’t take advantage of that?
Also, are any of those cameras you are using shot in 4k?
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I would have to do some serious internet digging, but part of the informal pitch was to use 4k to repo your shots for HD.
I know Jim, and Graeme, typed those words.
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[Oliver Peters] “Most interviews I’ve cut lately were shot with 2 C300s or 7Ds or 5Ds or Panasonic HVXs. The alternate angle looks far better than the close-up punch-in. I’ve also seen punch-ins from an Alexa done with Baselight and the quality from 1080 actually held up well. Far better than the quality you get from a zoom on an NLE. Of course, for the interview, it actually helps to use a camera operator who actually listens and reframes accordingly. That’s if it’s truly run-and-gun.”
Oliver, have you edited anything shot in 4K and used ‘punch ins” to get more shots. Because we do this all the time in FCPX with XAVC footage and get great results with anything up to a 250% crop. We do use reasonable primes and have a great DOP who lights well, this probably helps.
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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[Jeremy Garchow] “I take it you don’t go on many interview shoots.”
Production is too much like work 😉 So no. But I cut a lot of them.
[Jeremy Garchow] “We try and shoot 2 cameras whenever possible, but two F55s or two Alexas will blow a budget to smithereens. Alexa, for the most part, is only 2k anyway (and a beautiful 2k at that).
“So shoot with two 5Ds using primes. If your target it 1080 anyway, it doesn’t matter and you get an even shallower DOF.
[Jeremy Garchow] “but in a blind taste test, 95.9% (actual fact) of the clients wouldn’t know”
By that measurement, I can simply blow-up a 1080 shot to about 125% and get away with it 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Jeremy Garchow] “Also, are any of those cameras you are using shot in 4k?
“The film I’m currently cutting was shot with RED Ones at 4K and I’m blowing up a fair number of shots. It will look fine, but just one more issue to keep track of going through the grading round-trip. It’s a 1080 finish.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Steve Connor] “Oliver, have you edited anything shot in 4K and used ‘punch ins” to get more shots. “
Yes, but something about it just looks wrong to me, optically. I’ve also done a lot of 720 finishes shot with 1080 cameras for the same reason. The “fake” second angle.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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