Emre Tufekci s.o.a.
Forum Replies Created
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Depending on your workflow, not all systems will mix 24PN with other formats. If you have an AVID you cannot use 24PN with 60i content without converting it first. FCP will handle both on the same timeline but you have to render at a certain point.
Emre Tufekci
http://www.productionpit.com -
It s quite simple.
When we return from filming, the P2 content is ingested into our main drives, those drives (only the p2 content) are immediately backed up to Gsafe drives (raid 1 mirrored from g-technology) with a structure that allows us to keep track of its content. Once a week this content and project files are backed up to a VXA (a tape based systems). The VXA is our deep archive (you can use LTO tape from quantum as well) and can hold 600GB in a very small package ($100 for one cartridge).
-The gsafe allows us to immediately retrieve date incase of a failure or accidental erasure of the original material.
-VXA allows us to store in the long term.
-We do not delete the materials on the gsafe just daisy chain them to new drives when they get full.
-We store the VXA tapes in a separate location incase of fire, flood, raining frogs.hope this helps.
Emre Tufekci
http://www.productionpit.com -
We run our systems on a raid 10 set up and keep the main media there. Then we back them up to a additional raid 1 drive (GSAFE from g-tech) incase of accidental erasure.
Our long term deep archive is the gsafe drives+vxa tape. That way we sleep better at night.
Hope this helps.
Emre Tufekci
http://www.productionpit.com -
I am in NTSC land but the same rules should apply,
Another advantage is the recording time and realtime playback of overcranked images. You can get 2.8 times more storage in native mode (in NTSC) then in regular made.
You can also review overcrank images in 60FPS (in NTSC) in playback mode.
Hope this helps.
Emre Tufekci
http://www.productionpit.com -
The talent would be 10 meters away (fixed, sitting down) at f2 on a 50mm lenses
your dof would be 11 feet.
3 meter away at f4 (fixed, sitting down) on a 50mm lense
Your dof would be 2 feet
(I had my ASC manual handy)
Emre
http://www.productionpit.com
Boxx Tech PC, dual-dual AMD 2.0,4BG ram,Avid Media Composer HD w/Mojo,UVW-1800,DSR-25, Adobe Premium CS3.Gspeed ES.Steadicam Clipper 2 OP/Owner.“Creative cow is udder madness.”
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We recently finished a shoot in a pool with a lot of special forces guys using the Ewa-Marine VP2.
It worked just fine with no leaks down to 10 feet depth but the bag bloated from pressure and the camera heat expanded and fogged up the bag (not the lens). We had to surface and add additional weights.
Please note the 200 was our throw away camera so we were not too worried about loosing the camera and the p2 cards are virtually waterproof.
Emre
http://www.productionpit.com
Boxx Tech PC, dual-dual AMD 2.0,4BG ram,Avid Media Composer HD w/Mojo,UVW-1800,DSR-25, Adobe Premium CS3.Gspeed ES.Steadicam Clipper 2 OP/Owner.“Creative cow is udder madness.”
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We have been shooting a lot of 720P 23.976 material and integrating them into SD and HD timelines at 60i or 60P inside FCP with no problems. The cross conversion/pull down is very clean.
We just set the presets in advance and tell FCP not to conform (FCP 6) and usually there is very little or no render time.
Also your idea of exporting the footage and re-importing would work for AVID type workflows. Because Avid does not support 720 conversion on the fly we expert a quicktime uncompressed and re import the file into the new project.
You can also do this with After effect. You need to expeort the audio separatly as AE usualy has trouble conforming.
Emre
http://www.productionpit.com
Boxx Tech PC, dual-dual AMD 2.0,4BG ram,Avid Media Composer HD w/Mojo,UVW-1800,DSR-25, Adobe Premium CS3.Gspeed ES.Steadicam Clipper 2 OP/Owner.“Creative cow is udder madness.”
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The shot is a transition from a helicopter to a technocrane on the back of a truck. If you look closely you will see the bus that passes is CG and the background focal length changes as well as a car and a few pedestrians disappear.
Emre
http://www.productionpit.com
Boxx Tech PC, dual-dual AMD 2.0,4BG ram,Avid Media Composer HD w/Mojo,UVW-1800,DSR-25, Adobe Premium CS3.Gspeed ES.Steadicam Clipper 2 OP/Owner.“Creative cow is udder madness.”
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I can answer the part about retainers:
I was on retainer with ABCNEWS for 8 years when I lived overseas (As a cameraman). It was a good deal where they guaranteed me 10 days of work a month and I was paid that like a salary every month. If they could not generate enough work for me I would still get paid my rate.
What you have to take into consideration is the retainer they will provide you has to cover you basic needs as you have to rely on yourself to freelance to make up the difference incase you don’t get more work from them.
I had a few advantages like I was working exclusively with Ted Koppel and Peter Jennings so I was high on demand and worked well over my retainer. I also had camera gear I was renting them so there was a second income from the retainer.
But I had to get my own health insurance and retirement as I was officially still a freelancer. If you are getting a retainer from a small company I would recommend for you to not get attached too much and in a year seek a staff position elsewhere if they do not make you a permanent employee.
I hope this helps a little.
Emre
http://www.productionpit.com
Boxx Tech PC, dual-dual AMD 2.0,4BG ram,Avid Media Composer HD w/Mojo,UVW-1800,DSR-25, Adobe Premium CS3.Gspeed ES.Steadicam Clipper 2 OP/Owner.“Creative cow is udder madness.”
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Is there any budget for doing this in post?
-On the cheap end you can do it with the shine plugin+AE. If no tracking is involved it should be not too complicated to pull off.
-On the high end if you have a tracking shot you can 3D model the windows and post light.
Hope this helps a little.
Emre
http://www.productionpit.com
Boxx Tech PC, dual-dual AMD 2.0,4BG ram,Avid Media Composer HD w/Mojo,UVW-1800,DSR-25, Adobe Premium CS3.Gspeed ES.Steadicam Clipper 2 OP/Owner.“Creative cow is udder madness.”