Daniel Stone
Forum Replies Created
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[Tim Wilson] “That’s why my own most desired set of answers on this thread are finding out how you secured the facility. 🙂
“Hi Tim! We researched a few options (including NFL and Major League) and getting permission to film is rather easy if you have the budget and good insurance (we happen to have both). As it turns out, their union only covers the electric stuff, which works out well. I’ll happily hire a few of their people to shadow my grips.
My concern was that we would have to make the entire production union and get involved with IATSE, which, thankfully, is not the case.
Bill Davis: This is excellent advice!
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Thanks for all the comments, guys. I really appreciate the feedback.
The bribing thing was funny but certainly not an option for our situation, of course.
The agency has secured permission to use the stadium and the fee is not a problem (the commercial is for a stadium “regular”). I’m just trying to figure out what union(s) the stadium is ruled by, assuming that’s how it works. I asked – thinking I could just go full union and hire my own, say, local 600 guys – but the stadium just came back with, “If you bring equipment, we’ll have to set it up and then your crew can operate it. And if anything breaks, we have to repair it.”
Totally appreciate them being cool about it, however, I’m trying to figure out if they’re just talking about plugging in our lights or if they want to set up all of our grip (including leveling 40 feet of dolly track) as well as assemble our camera (Arri Alexa) and DIT station. The former I can totally deal with; the latter worries me a bit.
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Sorry, I think I figured it out. In case anyone else needs it, right-click the keyframe and select Keyframe Interpolation. Then set Special Interpolation to ‘Linear’ rather than ‘Continuous Bezier.’
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This is exactly the information I was looking for and it all makes perfect sense.
Thank you so much!
Dan
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Thank you, thank you! This is exactly what I needed.
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Sorry, I think I’ve made this confusing. I’ll rephrase.
I am editing 23.98 SD footage in 23.98 progressive. I use After Effects to add 3:2 pulldown.
Here’s where my problem starts.
Both Comcast and DG Fastchannel require 720×486 with upper field first (not typical, I know). So, when I create this upper-field-first clip, how to I test to make sure it’s correct? Kona doesn’t seem to play upper-field-first SD footage properly.
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Your guesses are correct: no (as far as I can tell), yes and yes.
HD footage seems to play well–it’s the SD I’m having trouble with. Lower-field-first footage plays smoothly but upper-field-first footage plays choppy (even though the timeline settings are matched).
Is Standard Definition upper-field-first footage supposed to be playing back properly through my Kona card or is that so uncommon that it’s one of those “encode and hope for the best” things?
Thanks again for your help!
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Thanks Dave.
Question: How do you verify that ‘upper field first’ material has been encoded properly? SD material, for example. ‘Lower Field’ footage I can throw on a timeline and play out to an NTSC monitor to make sure it plays back smoothly. ‘Upper Field’ looks jumpy no matter how I play it.
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Yeah, we tend to avoid government RFPs. It’s too much work outside of doing the actual work with not enough reward.
I have a colleague who works for a production company that specializes in government work. They have a team that handles the “business” portion, the cost of which gets rolled into the production budget. He calls it a “PIA charge.”
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Just a quick update in case anyone else has an issue.
I contacted PNY Tech support, who responded once with some questions. After a week I have not heard back so I contacted the place where I bought it.
Apparently these cards are known for faulty display ports, which mine has. And apparently PNY is also known for faulty tech support. So, if you need a functioning card quickly, buy two and return the one that works. 🙂