Paul Ullah
Forum Replies Created
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Thank you
I will go through that tutorial.
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How do I import a jpg to use as a reference image?
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Strange that you should suggest that. I am trying that out at the moment.
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Thank you very much!
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Most clients will just say, “We can hire somebody with a 25p camera and avoid post production headaches”
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In the defense of our modern day editor they are asked to do more than back in the good old days. And on a tighter schedule on for less money. I remember when I first got into the industry as an editor you would be asked to off line the project and then an online editor would conform and make small changes and a graphics person would add graphics and the whole lot would go to a sound mixer. Now it’s ALL in the hands of the editor.
And that’s why I’m a camera operator!
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I have used 2 different methods. On the feature we took a laptop with a pc slot and just plugged the cards directly into the slot in the side of the laptop. Copied the footage directly to the firewire drives. That way we could also play back footage.
What I usually do so that I don’t have to carry extra kit arond is put a firewire 400 drive in my camera bag and transfer direct from the camera. That way I don’t need to bring a laptop on the shoot with me. I like to travel light. Especially on corperate jobs where I don’t have an assistant to help with bag carrying.
Shake’s optical flow is great at creating slow mo and the advantage to doing it this way is that you’re not going to loose light by shooting slo mo. I was having a conversation about optical flow today actually. It does create extra frames by analysing every pixel in your shot. Completely convincing. We were talking about shooting 60fps with a HVX200 in a 24p project and then slowing it down to create a 120fps slow mo. I’m going to do a test with this soon.
Paul
PS Where are you based? Where is the film being shot?
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I’ve not used the HPX3000 but have shot lots of P2 and it’s almost always been cut using FCP. The editor on the last project that I shot on P2 had just cut an XDCAM job and said that the P2 workflow was far better.
I’ve also been working on a P2 feature and the director had never used the format before. Being paranoid he used mirrored drives to store the P2 data and then imported the footage onto another drive for editing. This drive was also mirrored. It was a little paranoid but since there are no tapes or film reels to go back to it was slightly justified. I’ve done my research on the firestore and it seems to be a little unreliable I would always shoot cards where possible.
Final Cut Studio is great too for it’s integration with Shake and Color is a great too too.
Given the choice of any non film format for a feature this is the way that I would go. HDcam is prone to tape drop out, Red is unreliable. P2 is the best in my opinion. And the 3000 seems like a great camera. I would just shoot some tests at 720 and 1080 and see which you prefer. 720 has it’s merrits so I wouldn’t dismiss it so quickly. It depends on the look that you are going for?
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Thank you.
that seems to be the solution that I am looking for.
Paul