Blub06
Forum Replies Created
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What I notice when I go back and forth might be part of your frustration. With the Avid you MUST operate the thing along narrow guidelines or else it wont do what you want it to do. With FCP operationaly its much more freeform. This constriction with Avid is really a physiological thing and for me it adds a burden that is on a moment to moment basis extremely discomforting. Of course for some the Avid way is not such a bad idea, for me I have been half asleep while editing and as long as I did it the Avid way I could get throught the edit, and even get some sleep while doing it.
Chris
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What I notice when I go back and forth might be part of your frustration. With the Avid you MUST operate the thing along narrow guidelines or else it wont do what you want it to do. With FCP operationaly its much more freeform. This constriction with Avid is really a physiological thing and for me it adds a burden that is on a moment to moment basis extremely discomforting.
Chris
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I have never heard of a 100 foot load not coming on a metal reel which allows for daylight loading. I guess you could turn the lights off at night, cover your hands and the box with something and open the box and feel if there is a metal reel with this film.
What you are talking about is called a changing bag.
I would NEVER put a splice through a camera, there are real chances that the glue or tape that you use to splice will rub off on the gate and smear the film or break or the leader might not even fit the camera. Camera original film and print film including leader are of different dimensions especially the sprocket dimensions. This could lead to mechanical issues.
Chris
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Oh no!
I guess we have entered the era of cell phone cinema!
I want to get off…
Chris
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This might sound odd, but no more odd then your problem. It sounds as if the compression process is at work here. I am talking about what is going on inside the camera not in post. When a compressor has a hard time locking on it does odd things. I wonder, was the background darker then the foreground? The compressor might get screwed up dealing with the different light volumes and when faced with a darker area it eventually cracks. Its a little like an auto focus problem when it has a hard time locking on a single spot, it keeps locking on one spot then another then back again.
I know all to well how strange if not wrong this idea sounds, I know I know I know, the description is extremely interesting and if my conceptual take on this problem is right it seems it could easily be solved with a software update. Unless the chips cant give the compressor what it needs to do its job. This seems unlikely, it is Panasonic after all, they know a thing or two.
Chris
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Of cousre you must rent the big Tyler mount for the airial shots.
Chris
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Speaking as a former narrative feature film person, Dailies is, as has been mentioned, yesterdays footage developed and printed from selects. The term rushes is the same as dailies. Rushes because it was considered quick turn around to get to screen the footage only one day after shooting them.
Dailies in the film biz in some cases has turned into a party, which screws the whole point of dailies up. When a steel company makes its daily run of steel there is a room they take a small selection of that steel into and inspect it. For the shooting of a narrative film screening dailies is that same small room.
Chris
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I have a theory.
You go to the location, its outside, you get out of the car, its colder then you thought it world be, your not dressed properly, you start shooting, slowly you get colder, and then colder still, your hands start to shake ever so imperceptibly, you get back in the car.
Everything seems right in your world, you with your new camera, but, you’ve got what you’ve got on the P2 and nothing will change that, you screen it and, OH MY GOD something
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I have only seen HDV on a large LCD for the home type of monitor and a 30″ Apple monitor. I guess I broke the golden rule, only look at the footage on a real monitor not a computer monitor. I will have to revisited HDV after your observation, maybe the obvious and constant motion issues I saw are not so bad on a real monitor, thanks for the reminder.
Chris
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I am a film /prime lens kind of guy but I do read the newspaper.
Brothers McMullen was shot with BetaSP and A ZOOM LENS!, made a ton, make that 40 tons of money after the tape to film transfer.
I like the tech stuff and understand the overwhelming desire to perfect things on the technical side, I also understand how content can make the technical stuff meaningless.
Chris