Thank you AJA!

[Jeremy Newmark]

Walter,

Congratulations! Was this a project that you finished uncompressed, or was it DVCPro? Just curious, because I know you do a lot of DVCPro work.

best regards,

jeremy

[Walter Biscardi]

[Jeremy Newmark] “Congratulations! Was this a project that you finished uncompressed, or was it DVCPro? Just curious, because I know you do a lot of DVCPro work.”

Both projects are shot and posted using a DVCPro HD workflow. One project is delivered via HDCAM Master while the other is now delivered DVCPro HD. They QC’d a test DVCPro HD master and we just blown away by the quality so they said, “nope, you don’t need to deliver HDCAM, this looks great!”

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Mike Most — account bouncing, bad address]

I understand your personal pride, but I would also suggest that you give a bit of credit to whomever shot the material in the first place. Good looking material doesn’t get that way purely because of a good post path, although a bad post path can certainly harm good material. In any case, I’m sure the director of photography would thank you for your efforts, and you should do the same.

[Shane Ross]

I’ll post this here too as I posted it in the FCP forum as a follow up to this post there too:

I too used the Kona products for our output of The Mexican American War for the History Channel and it passed QC without one picture note (the only notes referred to issue with closed captioning). And the engineers were very pleased with the result, and surprised at our workflow.

The AJA folks (with the urging of Jon Thorn) made sure to add functionality to the Kona 3 to upconvert 720p to 1080p on the fly in real time, specifically because our delivery specs changed MIDWAY THRU THE SHOW from a 720p master to a 1080p master. AJA heard our dilemma and produced a card and firmware that solved it…because they knew more and more networks would be demanding 1080p masters…and that our workflow would become more and more common.

So, not to steal Walter’s thunder or anything, but I too wanted to pat AJA on the back and thank them for making my life easier.

And I would like to give a great thanks to my DPs Kevin O’Brien (who shot with the varicam) and Andrew Parke (who shot with the HVX200) who gave me fantastic images to work with.

Shane

Littlefrog Post
http://www.lfhd.net

[Walter Biscardi]

[Mike Most] “I understand your personal pride, but I would also suggest that you give a bit of credit to whomever shot the material in the first place. Good looking material doesn’t get that way purely because of a good post path, although a bad post path can certainly harm good material. In any case, I’m sure the director of photography would thank you for your efforts, and you should do the same.”

In the case of “Good Eats,” absolutely, those guys are the best crew I’ve ever worked with. Marion Laney is the D.P. on that show and Marshall (I don’t know his last name) is the Key Grip. Those guys do an incredible job of lighting and camera angles and Marion spent a lot of time perfecting the “secret sauce” to bring about the current look of Good Eats. Also thank the work of SteadiCam operator Ramon Engle. My job is made much easier becuase of the work they put in.

In the case of the other show, um, let’s just say our Post work made the photography look much better than it really was and leave it at that.

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters