Blub06
Forum Replies Created
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It was good while it lasted.
Price fixing usually means, they worked with others to set an artificial price, artificial as in overly high. What other companies were they fixing with, why are they not fined?
In this instance I think this price fixing means dumping, selling for less then it cost to make, If this is the case, prices should rise. I like dumping…
Chris
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I would concur, its heat and its most likely the hard drives no matter which ones you are using. Buy a fan.
Chris
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I would also add that, kodak once made 16mm film stock for the camera that already had a mag track on it. I think this was a kind of reversal, ENG film stock. Once you go through your editing and sound work, assuming you do it in the traditional double sync way as so well explained by John you can than have the mixed sound track recorded on the camera stock that has the mag stripe.
This is kind of an odd ball way of doing things but if you only want one copy and then transfer to video this method works, I remember doing in the mid 1980’s it saved money and I thought it was rather clever.
I don
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So, as a Avid person what would you do if this happedn to you? You would say, Oh I have a corrupt timeline. I better create a new sequence and copy and past from one timeline to the new timeline (sequence).
It works with FCP too, for me it works each and every time (twice).
Chris
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In my experience any recording form and any playback form will sync perfectly together in post no matter how long your shot lasts as long as BOTH playback and record systems are running with a crystal that governs the speed of the motor in both systems. I have worked on many different mixtures of systems and it always works, I have never ever tried playback with a CD. I don
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The so called output to film is of course a process you get to after you cut the project. You then go to a lab or other company (all of them seem to be in LA) which takes the video and transfers it to film. This process is probably the single most expensive stage of making a film on video and ending up with an actual set of film reels with your project on them.
If your point was more of which camera would provide the best image so when you transfer the thing to film it has the best chance of looking the best.. I would suggest upcoming HVX200. This camera has the same codec used on the Vericam, DVCProHD. I don
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I am thrilled to hear this. Seeing things projected is the only way of really understandinghowthings are working and if they work.
I feel young again!
Chris
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Oh my God I am older than I think. Your right, work print? Dah.
I guess I though that directors and producers of a curtain weight and pull (within the studio system) still had the assistant editors conforming a workprint from the Avid cut list. They would then project this in the lab or studio screening room to see just how it looked and felt on an actual screen. I have not walked into the Technicolor lab in NYC for over 10 years, (makes me want to cry) I have lost touch with how it is done now, its been a while since I was running a feature film.
The times are a changing, I was so busy looking over my sholder at my past I forgot we were doing things differently these days.
Chris
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Many times people transfer the work print in order to get it to video form and ship that around in the early stages of editing, before the camera negative gets messed wtih. Not a good idea but there it is.
I remember seeing for years entertainment news storyies where they had clips of the up and comming film with all the tape and greese pencil marks all over it, AMAZING. I always was shocked by studios and producers letting their films be seen in this state, maddness.
Chris
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The device that you are talking about is called an intervalomiter (sp) used for timelapes work. Bolex and Arri sold one for their cameras that slaped on the side (Bolex) or back (Arri) now they are built into the Arri.
It would be great if the 200 had this feature, HD would add so much to the effect.
Chris