Person Lastly
Forum Replies Created
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“I’ve always admired those who break free of the confines of commercial work and spread their creative wings.”
i as well. unfortunately, the american ad agencies are often attempting to sell, in veign, high concept evokative ideas to clients who live by the american protestant code ethic… and RETAIL (i.e. want fast results). which is very effective in squashing solid (more effective in the long run) ideas. euro markets are much more forward thinking. of course there are a few exceptions here in the states, but few.
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my guess is you are trying to move at a constant speed and retain wall thicknesses to feel as if the camera is dollying through walls. i can always see when they have made an edge wipe or mask with an image in post to emulate this. the surest way would be to shoot it practical. obviously, $$$ and time. but way cool. so do the best you can in post. below is a link to a couple things. not exactly what you are looking for, but maybe you could suggest something similar?
use of masks to with a constant speed:
https://extreme.colonelblimp.com/directors/dougalwilson/movies/DW_lcd_tribs_L.movi downloaded this for you to take a look at as an example of using content and editorial to mask the walls. obviously action makes it easier, but you get the idea
(director: jonathan glazer for levi) quite a nice spot. won gold at cannes lions:https://pupo.com/kelly/levi-odyssey.mov
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if it’s for internal uses. should be okay. if making more than a few dubs, airing somewhere, being shown to the public, then get a letter of indemnification.
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bid the job to the client. have them sign it. 50% up front. any overages (on their part) should be shown and signed for. receive the remaining 50% on delivery of master. that’s how it works for our company here in the U.S. we work with larger budgets ranging from $20k-$450k. as you can see larger budget has quite a range as well.
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just got back from my short vacation. an edl is an edl. pretty universally accepted. though not entirely full of information. does fcp create omfi’s? the other option is a program called automatic duck. it’s a translator. i wouldn’t know about anything more about fcp or adobe or anything non-avid really. sorry.
did i answer the film (telecine) zoom/pan & scan question?
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as far as loss of a frame here and there, just make sure you split screen the offline to the conform and adjust as needed. i run into this when editing 29.97 (out standard in the commercial world) for HD 24p. since a cut could land on a pulldown frame the avid just picks a frame on either side. this can through me off a frame. we just eye match in flame or smoke or whatever against the offline. fortunately i’m working on spots, not long form for this. though, it really isn’t a big deal.
anytime an image is blown up, zoomed and scanned, it should be done in telecine or (if being finished standard 525) bring it into a flame or smoke or whatever at HD and then blow up and move around. then downconvert to 525. it’s all about retaining sharpness. and as we know, just blowing up video is UGLY. if doing it in telecine, just match the offline move frame start to end. if you are not totally sure, then do a couple passes. the colorist or his assistant will offset the timecode by a minute, or ten minutes, or whatever. just take note of it and bring those notes to the online. let the online know in advance of any multiple passes so they can bring them in (i.e. your edl won’t tell them). also, this might be something the director could do in advance of the edit. meaning doing a best light xfer of all his/her footage with any special passes/fx work. i would recommend that if doing zooms/pans/scans that they should save it for the offline process.
the new coolest color correction suite out there is the Lustre. i’ve used it a couple times. this is made by discreet and is non-linear. popular for top hollywood features. the images are scanned in edge to edge. and retain all the details from light to dark. the color correction is done digitally. my favorite part is the ability to look at multiple shots at the same time. giving a kind of overall feel to the images and how they look together. it’s also very selective. meaning i can just tweak certain parts more precisely. the power windows are also closer to matting than just circles and boxes. really powerful tool. very selective. very cool. highly recommend it. though $$
the last question i’m not sure what your asking. i’m heading out on vacation in a few.
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what, no telecine? it’s all pretty basic. the key is organization of elements and getting the proper specs from the people doing the finishing.
check with the online folks about edl specs (cmx 3600 A mode is quite popular-no clip names), formats for offline layout, how to get them these materials (disc or email). hopefully you properly named your sources. 6 characters is all they see normally, i.e. TAPE01, TAPE02…if you didn’t, then modify the source names or bring notes to tell them which tape is which. if you’re using more than one layer of video, then supply each layer as it’s own edl. in the Avid you can select V1, V2, V3 and so on. i usually title each edl LAYER 1, LAYER 2, etc. use the offline to eye match your composite, titles, etc. sometimes you may not need to supply additional layers as edl’s if it’s simple enough to eye match it to the offline (like a title for example).
if you have a laptop or access to a computer, i would recommend you bring a quicktime movie of your offline so that you can shuttle around to view your offline without stopping the conform (i especially recommend this for a telecine session). once the the picture is conformed, the online guys should show you a split screen of the offline and online to make sure all is frame accurate.
the next step would be the mix (or for many of my projects, being done simultaneously because we are against a quick air date). if you are just using your mix (which I don’t recommend), then ask the online folks how to supply you that stereo mix. aif’s are common. include a 2 pop. if you’re going to a sound designer and/or mixer (recommended) then check with them what they need. omfi’s are quite popular. again, check with them for the specs.
if you are going through telecine, then let me know. that requires attention. you don’t want to show up to online with a shot missing. bad.
good luck
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coffee refills or a stop at the outhouse is all i get with my renders. but i offline commercials. no longform or finishing.
kvl -
i agree with the eating in the suite thing. though snacks are fine, unless they are noisy. we have a lunch break when working with clients. gives us all a break, and is a good way to strike up conversation without being attached to the gear. face to face. plus we come back to the material with fresh eyes, and without the diner smell.
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sorry, might have been a little harsh. here’s my suite
https://pupo.com/kelly/kvl_edit_suite.jpg
the best part is natural light