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Fermin Branger
August 17, 2011 at 3:16 pm in reply to: Media 100 needs more love on Facebook methinks, ^_^.

That, my friends, is very important.

We feel fortunate because Boris and everyone at M100 are listening us in all matters about the development of this wonderful product, but I can’t understand why there is no feedback when we talk about the communication issues of M100.

I know that BorisFX have very powerful tools for a lot of people out there, but, both products belong to two different markets that haven’t merged in a solid solution for a lot of people (including me and my people), that were working with AE or Color for years. I think if M100 were marketed in a different way, as a powerful editing solution for digital cinematography and TV and beyond, without force us to work trough BorisFX, many things could be different; maybe if we could work, hand by hand, with a BorisFX that could work with third party plugins, the story could be different.

The matter is that there are so many people out there that want to do their films and prime time shows for continental distribution, that associate BorisFX to a different league. It’s hard and it’s a contradiction, but BorisFX have saved M100, and now, when the perfect time for this well prepared and legendary tool have arrived, it is slowly drowning M100 under the shadow of BorisFX, or at least by their deficient marketing strategies.

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.
http://www.alfareriacine.com
Fermin Branger
July 25, 2011 at 5:03 pm in reply to: P-10 Log Varicam 3700

Hi Dave, I’m planning to do some test with both cameras as soon I recive my Gemini 4:4:4.
There are a lot of reasons to considering the F-3 but, as I’ve seen in our 35mm film out transfers, the resulting image of the 3700 are always more “organic” than the F-23, a camera that have more expensive and better suited components, as an example..
I’ve read that the P-10 Log have some little differences compared with the S-Log, but I’ll be over that in some weeks.
I’m very interested in this matter. If someone has answers about P-10, please let us know.
Maybe Jan Crittenden can tell us something about it.
All the best,
fermín

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.
http://www.alfareriacine.com
Fermin Branger
July 1, 2011 at 4:34 pm in reply to: Media 100 and OMF and Long form

Hi Warren, our main activity is the film production. We have two M100 systems.

Depending on the project we’ve worked with M100 or Final Cut, it depends on the codec support (the 1rst projects) or if we works at distance from the Director and it has a FCP in his home.

We’ve been making long feature films and some short films with Media100 Suite since 10 years ago, and all that projects have been released without any problems. Pure peace of mind is M100 for us and our clients. M100 works natively with our AVC-INTRA 10 bit codec of our Varicam 3700 camera. We have done projects shooted on HDCAM-SR, XDCAM, DVCPRO HD, HDV and so on. And now that M100 supports Red cameras natively, I know that a lot of projects will come to us from that way.

To export OMF files to the dolby studio, we export XML to FCP 7, and then export the OMF from there.

Our color correction is made, depending on the client, in AE using Colorista II, or in Color, for our co-productions. The final tuning of some escenes is made using the curves and levels corrector over our uncompressed 10 bit media in M100. (but I’ve heard very good comments about the new 3 way corrector of Boris for some things). Then, we export a “Self contained” movie of each roll and then export each one as AJA 10 bit RGB Codec, to convert it into DPX files for lab. (I know this “Export” part sounds a bit tedious, but worth it). At last, we make a final “one-light” color adjust into the Scratch or Film-light before transfer it to 35mm.

Media 100 have been so much reliable for us, compared to FCP. You can edit without re-rendering video and audio. It works like the finest machines.

But remember, to prevent gamma issues from quicktime you MUST export without use the internal Qtm conversion, and then export from Qtm application using your AJA codecs.

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.
http://www.alfareriacine.com
Fermin Branger
July 1, 2011 at 3:25 pm in reply to: Chroma Key for M100

I use to export my pgm to AE and then work with keylight with awsome results for ad campaigns, features film escenes and so on..

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.
http://www.alfareriacine.com
Fermin Branger
June 23, 2011 at 12:04 am in reply to: Time for FCP users to give M100 a serious look

…and publish reviews on specialized magazines such DV, Videography, American Cinematographer, Creative Cow (of course), Cinematography, and so on.
M100 have to say “hey, here we are, we’re still giving peace of mind to editors, storytellers and producers in the whole world… We support 4K, 2k, red footagem AVC-Intra… ”

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.
http://www.alfareriacine.com
Fermin Branger
November 24, 2010 at 10:59 pm in reply to: two people editing same proj in different places

Thanks Rafael, but I prefer to have a main project as a holy grail and then import the transit files into it, to prevent confusions with so many projects because he is new with Apple and final cut, and I’m making a precise list of procedures to him. (and because I come from Media100 Suite, where I can save and send the time lines as independent archives)
Do you think that XML will be cumbersome to him? I made a test yesterday and FC told me that I had to reconnect media, because the disk has the same media but a different drive name..

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.
http://www.alfareriacine.com
Fermin Branger
November 24, 2010 at 9:46 pm in reply to: two people editing same proj in different places

Thanks Rafael,
In fact I will transfer all the media to his disk and name it with the same name.
Do you think that if I send him XML files of each cut, could he open the sequences without reconect? …and then make changes if necesary and send me it again as XML?
Thanks

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.
http://www.alfareriacine.com
Fermin Branger
October 18, 2010 at 5:57 pm in reply to: anyone have experience with Angenieux vs Canon/Fuji standard lenses?

I love Angenieux. I’ve used one in the past that seems like the 19×7.3 for a feature that we made in the Amazonas 7 years ago and the results were great.
I have an Angenieux Cinestyle (T1.9) 11.5×5.3 zoom now and is amazing in resolution, texture and minimal breathing. I’m using it with my VAricam-3700 and each time that I need a longer lens I use a Schneider 2.0X extender and the results are awsome

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.
http://www.alfareriacine.com
Fermin Branger
September 2, 2010 at 2:41 pm in reply to: HPX3700 video noise levels – screenshot included

Of course this isn’t a noisy camera, I have one 3700 and I’ve never seen so clear images before. I think it would be a matter of “forced capturing” with wrong settings, or a particular issue with that camera.

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.
Fermin Branger
September 1, 2010 at 2:40 pm in reply to: HPX3700 video noise levels – screenshot included

Have you used DRS function? The camera was so hot?
Have you performed a bracketing test with the optics that you were going to use before shoot?
What was the aperture at that time?
…your camera settings?

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.

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