Javier Calderon
Forum Replies Created
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Alan wrote regarding the D.I.Y. route:
“While it’s certainly possible to end up with a very high quality product, it happens at a much slower pace than what is possible in a high-end finishing suite.”
Wo. I’ll say. I’ve been one-man-band-ing my present feature and it’s taken me probably at least twice as long as it would had I a team helping me. I have been absolutely defiant regarding all the obstacles that have happened in the way of its completion, but 1) I will hopefully be finished in a few (relatively) short months, and 2) I’m very much looking forward to taking all the knowledge I continue acquiring from helpful folks on forums just like this one and making the next project all the better (and smoother!) for it.
“If saving time and money aren’t of critical importance, and if learning the craft of color correction is your goal, then by all means, dive in!”
Oh I’m diving alright. Swimming with sharks, to be sure, but slapping around in the water as best as I can all the same.
Thank you very much,
Javier Calderon -
Thank you ALL of you for responding and taking the time to share your information w/me actually.
So what does this basically mean folks? (besides the obvious fact that I would have to get a new system if I want to do HD in the future) . . .
Does this mean that if I want to work w/16 on this system (which I’m not saying I WILL! Hold your horses, Bob! Don’t pelt me w/another “don’t be a cheap loser” tirade! lol) that I would only be able to view playback in SD – if at all?
I have this only as a final, concluding question to this thread since I’m now simply wondering how shoestring budget indies get made using 16 film on computers far less powerful than the G5 I have here. Did they (do they) get their shot film processed and sent back to them on some sort of non HD format (VHS/DV tape, etc) that their system can handle? If so, then they can work with it, but the footage simply won’t have the best resolution . . .
am I getting this correct?
Again, I’ll let this thread go after this remark, as I understand that now I’m DEFINITELY getting not only off the thread topic, but off the Kona FORUM topic! Any last responses/comments would be greatly appreciated, however.
For now I’ll hunt around on the web as well to see if I can also find some further help on this particular query.
Thanks again, all
Javier Calderon -
Well . . . Thank you much, Neil. This is quite valuable – although admittedly regrettable – information.
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Okay, now Bob . . . re-reading your post (I can tend to be rather dull-witted. It takes me a few passes at reading something before I ingest everything it really means), I respectfully pose the following querry:
Seeing as I don’t believe that I’ll be working with DV (to this feature length extent anyway) ever again, I would rather have something that will work “well enough” if somewhat subpar for SD color correction yet pretty darn good for HD cc (which seems to be what you’re suggesting the JVC DT-V24L1 or L1D would do), than to have something that will do pretty darn good cc work with SD, yet will be totally inapplicable for HD (your suggestion of a Sony PVM monitor, for example).
In other words, if I were to get only ONE monitor that would work for color correction on both the present DV project (which, again, will probably be the only DV project I will color correct) and on future 16mm and/or HD projects . . . then it seems the JVC DT-V24L1 or L1D would be it? Please correct me if I’m venturing toward a mistaken conclusion here.
And if I get the JVC DT-V24L1 or L1D . . . um . . . well . . . a question would then be . . . would I even be able to use it on my PCI-33 based G5?
Thank you all for the help so far. I feel I’m slowly getting a somewhat better handle on what for me is a very, very complicated and convoluted dynamic.
Javier Calderon
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Thanks a bunch, Bob. Yes. I am doing color correction – or, rather, will be doing color correction in the next few weeks (after I finish audio post). The suggestions you made in terms of how to color correct SD I will look into. My original question was keeping in mind the fact that although the present project is on DV, I’m planning on doing the next feature on 16mm (or HD – but presently leaning toward 16) and I’m trying to see if I can get something that will not only work for cc on this project, but that I can use on future projects as well. I know that I’ll have to augment my present setup somewhat to accomodate the new format, but I’m not sure If I’ll have to COMPLETELY overhaul everything I have (i.e. getting a new quad or whatever will be the newest, biggest thing when I start work on that project). Afterall, great films (indie and otherwise) have been done on much less powerful machines than my “meager, old” dual 2 Gig G5 with the now antiquated PCI-33 slots.
Technology seems to have an almost overnight turnaround, but I’m not interested in being on the bleeding edge – heck . . . I don’t even have to be on the cutting edge. I just want to have what would work on my system – and knowing that much more elaborate projects have been completed on much less powerful systems than I have, I’m certain that with some continued research (as well as help from forums like this) I should be able to setup my present system to work with future projects on film.
Anyway . . . enough stupid ranting. Thanks for the helpful post, Bob. I’ll, again, look into the monitors you suggested, and probably be back here with a few more querries.
Javier
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Wow. Is it possible? A response that actually simply answers the question? without assuming that the question is coming from someone who’s trying to cut corners or get around spending some money? Whew! Thanks Neil . . . wasn’t sure where I was there for a moment.
Okay . . . So Neil, you’re feeling is pretty much that on this system, an old school CRT might be the best – if not only – bet for color correction? I shall begin looking into the JVC DT-V1710CG that you mentioned. Would any sort of added video card be needed with this particular monitor as well?
Thanks again for the response,
Javier -
Bob, who’s saying I have “NO” money? Where in my post does it anywhere say that I have “no” money to spend? I’m saying I would like to find what the most cost effective manner is to do proper color correction. That’s all. That’s what was meant when I said I’m “budget-minded”. I’m very well aware that proper color correction does indeed cost a lot of money. But I don’t necessarily think that one has to spend $50-150K in order to do it properly. That’s why I ask on this forum and others – for help. Since, admitedly, I need it.
And are you saying that unless you have a brand spanking new, super souped up intel based G5, you don’t have the proper machine to even begin thinking about doing proper color correction?
Bob, I’ve been reading a lot of posts on this particular site, and, in responding to many of them, you seem to be a knowledgeable person – one who’s insight many would benefit from. However, you seem to have taken my comments that I am on a budget and stretched them so horrendously out of proportion as to make one wonder where in my post you got this info from. I would appreciate your continued insight in this or any future post to be sure, but, in that the vast majority of your post covered things that I am more than well aware of (more than you know – I shall not bother to spell out the extent toward which a good portion of the past four and a half years that I’ve spent working on my present feature has involved sacrifices that rival ANY artists’; it’s not the point of this thread), I am hard pressed to sift the “sweetness from the rind” in your post.
All the same, thanks for at least taking time enough to even respond.
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Would the Kona 3 work with PCI-X? I have a dual 2Gig G5 that I got in 2005. If not, is there extra gear that I would need to get to “adapt” my G5 to accept the Kona 3?