[Raymond Tarry]

Bill, I’ve been seeing a lot of small LCD monitors for sale like the ones on this web page: https://www.filmtools.com/camonboarmon.html
I don’t know if they’re as good as the industry standard quality production monitors, but with all the changes in the last few years, the “industry standard” is in a constant state of flux and an aspiring Director, I really hate the whole idea of Video Village.

If we consider the following scenario of a one-location feature film production in which:
1. You and your DP do camera tests, project them on a D.I. screen at a good post house so the “look” of the project is set.
2. You’re able simulate daylight through windows so you have a lot of control day to day.
3. You have a reliable camera like the Arri Alexa (just suppose you can afford it).
4. You have no DIT, but a PA off-set off-loading Data from SxS cards.

Would one of these monitors mounted on a rack on the camera serve a good DP’s needs when it comes to lighting a set?
For everyone else who hangs out in video village, I’d just as soon give ‘em IPads with some sort of LivePlay set-up and have ‘em stand somewhere else. I don’t direct through a monitor, except to check the shot.
I’d appreciate your thoughts on this – Raymond

[Raymond Tarry]

Thanks John –
Now I’m getting a much clearer picture of what’s possible. Things were probably simpler back in the days of film, but of course, more limited. I’m really glad to have this forum to come to to get answers.
Thanks again – Raymond

[Raymond Tarry]

I suppose my next question would be, if I’m the director viewing these dailies and they’re going to be used by editorial, what quality do they have to be to be sent as an EDL to a post house for online edit?
Again, I suppose it depends on your end product and how much color grading is needed, etc. etc.
Please forgive my obvious lack of understanding on all this and thanks again –
Raymond

[Raymond Tarry]

Thanks Michael, very good advice.
According to this recent article – https://www.arri.com/news.html?article=938&cHash=798406a55c7190f6f0c0b5a83eae2de5 Pro Res 4444 recorded to SXS Cards in Camera is plenty adequate for theatrical, so Arri Raw is probably not worth the extra trouble and expense (leave RAW for the big guys)
Thanks again for your thoughts –
Raymond

[Raymond Tarry]

Yes, they are separate, but that was not my intention. Premiere Pro 1.5 always produces audio and video linked together.
After exporting to Procoder 3 off the Premiere Pro timeline, I imported them back onto the PP timeline and lined up the video and audio and the audio strip was noticably longer than the video.
I’m aware that Premiere Pro has a problem with MPEG 2, but you’d think that the strips would be the same length. (you can tell my knowledge is limited)

[Raymond Tarry]

Hi Daniel. The Procoder Preset is MPEG 2-DVD-NTSC, and the description box says:
MEPG 2, DVD, 720 X 480, 29.97fps, 6Mbps, NTSC, MPEG Video Stream + Wave File for DVD authoring software. (I’m not sure what you mean by PS or TS)

The video setting is CBR and the audio is PCM. Premiere Pro 1.5 exports audio at a lower bitrate and I tried that in Procoder, but the result still didn’t match up with the video.

Premiere Pro 1.5 also exports the audio and video synced and attached. I like the video output of Procoder better though.
Thanks – Raymond

[Raymond Tarry]

Hi, It was shot with a Panasonic DVX 100A, it’s DV footage, and Premiere Pro 1.5. The audio setting I used was PCM and the audio files come out longer on both ends than the video.

[Raymond Tarry]

Oh, I’ve been using Procoder 3 – forgot to mention that – R

[Raymond Tarry]

I’ve been burning my DVD’s straight out of Premiere Pro. If you have another suggestion, I’d love to hear it

[Raymond Tarry]

Thanks Daniel, very clarifying – Raymond