Carlos E. martinez
Forum Replies Created
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Of course I am aware how a light meter works, and you should use two types: incident and reflective (spot). Then you can see what contrast ratio you have or what you should adjust to.
And the T versus F stops was a problem we also had when I started shooting film many years ago. The working horse mostly used in 16mm back then, the 12-120, was only calibrated in F stops.
The ASA exposure is an issue, certainly. But I am not sure you can trust your eye or your monitor in HDV, except if you have a quality monitor, which was the problem I started from in the first time.
In my case I am shooting with a Sony Z1.
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To Todd Terry:
1) What HD camera are you using that demands a P + S converter? I thought that was a problem with 1/3″ CCD cameras.
2) How much are you paying for your 35mm negative and your 16mm negative? AFAIK shooting in 35mm is far more expensive, double the cost at least, than shooting in 16mm. Particularly if you are shooting a TV project, where there won’t be any theatrical projection.
Shooting 35mm short ends may work for a single TV film, but not for a series. So I am sure it’s much more affordable to shoot in S16.
What I am not so sure of is if it might not be a good idea to shoot in S35 for TV projects, as then you would have a 1.85 screen and save 1/3 in film stock, which would mean a real savings. A 35mm 1000-ft roll would last more than the standard 16mm 400-ft roll.
Of course I am talking of a 16:9 or letter-box TV release. If it’s 4:3 then a regular 35mm shooting will be better.
An S35 shooting is more expensive for theatrical release because you need to blow-it up in the lab, but in TV you will not need that.
Just a thought.
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I will run now into that problem too. In my case because there was material shot in the Sony Z1 in HDV and DV.
The camera operator did not perceive that when setting up for DV, the default value for audio was 32K.
The final project will all be captured for DV/48K. That’s fine for the HDV material, which is all 48K. But how do I capture the DV material shot at 32K? When did you convert it?
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Well, yes. The big difference between a home built system and a professional workstation built by DELL or HP is several thousand dollars. At least for me here where I live (Brazil).
My present video card is a GeForce 6200, not an ATI. It does the job quite well and it does provide realtime, frame accurate video monitoring, at least on my two PC monitors. Next I will be trying it on an external monitor too.
I am not doing that many effects though, which I think is best left for a higher grade Avid workstation. So I am not sure the OpenGL capacity of my 6200 or even better an 8600GTS (which should be my next video board) can be surpassed by a Quadro FX560, the latter’s only type I could afford.
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In a way, yes: no apparent problem with Avid now.
It was my distraction not to think that Nvidia driver might have something to do with it. But I did have a suspicion that might be it, because the error window popped up when loading the OpenGL effects.
That’s why I decided to give it a try and it worked.
IMHO I think it might be something related to the new mobo and the new Core2 CPU, because the older Nvidia driver worked fine with Avid on my former PC.
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The audio issue I commented is not one that happened in older systems.
You certainly need to know your way if you decide to assemble a system yourself. There places, like the Videoguys and others, which can be a way between.
But I am not sure if you still buy a “recommended system” you won’t still have to deal with the audio and video issues I mentioned. This dual-core based systems seem to be a new ball game.
This was the intention behind this thread.
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Well, it seems I have solved the access_violation problem.
When I started this thread there was one thing I hadn’t yet tried: updating the video driver.
Well, I did download the last version and… no error now!
I am starting another thread dealing with what seem to be common problems in latest systems and Avid.
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[Quote]Number 1 and absolutely the most important, what are your delivery specs? If 4×3, just do everything in 4×3 and be happy.[/Quote]
This problem starts because I am not happy with the 4:3 shape, but most TV channels over here still demand that format. So I can be happy by mixing up with letterboxed 16:9. And that might be a compromise that might get accepted.
For the same reason, it can’t be a 16×9 project, because in South American countries that is not a standard yet. By that I mean an anamorphized 4:3 that can be shaped back in 16:9 at the TV.
[Quote]So, letterbox will be friendlier to your 4×3 material, and anamorphic will be friendlier to your 16×9.
In the end, it really comes back to question number 1. Most 16×9 delivery requirements now are for an anamorphic master. From that the end user can easily pull a letterbox master if they want. If they ever want to uprez to HD, the anamorphic master will produce far better results as there is more vertical resolution there.[/Quote]
Yes, I might do everything into a 16:9 project and deliver it as a letterboxed 16:9 or a side-cropped 4:3. Both would demand some kind of zooming, in or out, and quality loss from the video. That’s why I am considering mixing both.
This will demand compromises in framing too, which I still have to shoot about 2/3 of yet. So I am still on time to get things right.
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Graeme has just said that I can’t use Nattress to convert 30p onto 50i or 25p, certainly not 24p. He says that Compressor might work, but it would take lots of time rendering.
Sorry if I did not make things clear or you didn’t get my point. The images I am most worried about are those coming from a JVC HD10 camera, that only outputs 720/30p. I can’t make that into 29.97 or any other rate.
Also I am thinking of doing 1080i/50 and do no conversion at all involving software of any kind, except for that that will convert the 50 fields into 25 film frames. I have no intention of converting 25 into 24.
The cameras we have access to are two Sony Z1, no any other cameras that can do 24p straightaway. No JVC HD110, Pana HCX200 or Canon.
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Yes, I have heard about Graeme’s good will.
I already did put my question on their e-mail. Let’s see what he says.
In any case I will pass on all this info to the project’s editor, as I do not use FCP, only Avid.