Arnie Schlissel
Forum Replies Created
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[mark Raudonis] “I’m sure the production manager (if there is one) would be interested in knowing how much time can be saved in post by making a simple change in camera/settings on the set.”
I doubt that the production manager cares very much what happens to the footage in post. That’s why they’re the production managed & not the post supervisor. 😉
[mark Raudonis] “You should be more assertive with your production team. May I suggest a whack upside the head?”
I’d be more inclined to bill them by the hour. Hitting their pocket books will hurt them more than hitting their heads!
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
There is no such thing as 50i on DVCPro 720. You need to set the deck to 50P.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
Back when I was a freelance newspaper photographer, I owned all rights to anything I shot, even if it was on assignment with all expenses paid. The only exception was if there would have been a work for hire agreement. The only time anyone ever asked me to sign one, I talked him out of it.
And this was important at the time, because I made thousands of dollars reselling a shot that had been assigned to by the New York Times.
If you don’t have a contract or other agreement giving ownership to the client, ownership stays with the creator.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[afrancis] “PS I tried to take my original photographs in a dark place and brought a disco ball, but the photographs where either coming out brightly with a flash and if i didnt use the flash it would come out underexposed. Please could you add a few steps in how to create this efffect regards”
You would be better off using either photofloods or halogen lights for this kind of thing. You’ll probably need a spotlight or 2 for the disco ball, and something wider softer to illuminate the set.
And you’ll have to turn the disco ball by hand just a few degrees for each frame.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[Shane Ross] “The Decklink card will do 720 to 1080i…but not to 1080psf. For that you need a Kona 3.”
That’s good to know. Thanks for the correction!
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
Three words: Carbon Copy Cloner.
https://www.bombich.com/software/ccc.htmlArnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[Rob Tinworth] “Is there any difference between doing the upconversion from 720-1080 on the output (through multibridge in this case) or is there anything to be gained from mastering in a 1080 timeline and rendering.”
If you’re talking about a Black Magic Multibridge product, I don’t think that they do a 720-1080 cross-conversion. You need a minimum of an AJA Io HD or Kona 3 for that. The post house that’s doing your tape to tape CC probably has a Terranex or Alchemist to do this conversion (and someone who knows to twirl the knobs to make your video look it’s best). If so, it’s probably worth it to let them do it.
[Rob Tinworth] “If I stay in a DVCProHD timeline, is there a quality loss whenever I render? Should I copy the clips into an uncompressed timeline?”
DVCPro HD is a slightly lossy codec. If you’re delivering to the post house on DVCPro HD, you’ll gain nothing by rendering in an uncompressed timeline, as it will be compressed again while going to tape. If you render in a DVCPro HD timeline, and then go to tape via firewire, you’ll see no additional loss in quality from what you rendered.
Regarding the various framerates of your materials & deliverables, talk to the post house doing your color correction. If they have a Terranex or Alchemist, all of these conversions will happen in real time, at the best possible quality.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[TVMANINC] “If I go into title 3d and dial in 22 is that the right number?”
Nope. That number bears absolutely no relation to the number of scanlines high your text is.
[TVMANINC] “I made 22 point type in photoshop and its quite a bit smaller than what type 3d calls it. Which one is the one to use?”
Neither. Points are a unit of measurement used in the printing industry, sort of like inches or millimeters. You can even buy rulers marked in points. Of course, this is kind of meaningless in video, because the same picture can be displayed on TVs that are anywhere from 9 inches to 103 inches.
You may want to try this plugin from Digital Heaven: https://www.digital-heaven.co.uk/fcplugins/dh_legaltext.php
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[Chris Poisson] “Interesting, and probably a great idea, the QT could be set to loop.”
Exactly. And it would loop more seamlessly, since you’re not reading from a DVD, which takes a second or two to loop.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[sue_l] “Is there any way (other than telling the director to re-shoot these scenes) to soften the shadows of the actors?”
To have a professional colorist or VFX artist re light the scene can easily be several days worth of work. It’s not likely that these shadows can be reduced without rotoscoping each shot. And it’s possible that these shadows can be “fixed” at all with any acceptable image quality.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog