[Richard Herd]

I’m really not picking a fight, here, but I’m just not one to accept answers in that fashion, and I don’t see a problem with testing 4 minutes of footage. Nor do I feel the need to share my resume, but it ain’t so shabby. Normally, I do as you do send DVCPro-HD to color. But this particular project is a bit different, and the article in the American Cinematographer talking about Aaron Peak’s work flow is worth more than a second look; his IMDB profile speaks volumes. Hey, I’m giving it a try. My original question was the best way to put the DVCPro-HD footage into HQ. I’m using Color for that, so I thank you for that! My first impulse was to use media manager.

[Richard Herd]

The cut and paste omitted what I think is the most important part of the post: “when DVCPro-HD footage is being color-corrected, it’s about as fragile as wet tissue paper.” The point is to avoid color-correcting DVCPro-HD footage.

I’m testing 4 minutes, and I’ll report back.

[Richard Herd]

Here’s what the American Cinematographer reported:

“A friend of mine once observed that when DVCPro-HD footage is being color-corrected, it’s about as fragile as wet tissue paper. To thicken it up a little, Aaron Peak (from Hollywood-DI) suggested we convert our original DVCPro-HD clips to Apple ProRes 422 HQ, bringing us from 8-bit to 10-bit color space” (Stephanie Argy, p. 75).

Here’s what I’m going to do: Send my timeline to Color. Render it to APR422HQ, and then send that time line to Color again, correcting that one in APR422HQ, back to FCP then to Compressor for final out.

From a film point of view, I’m thinking of this as an interpositive to an answerprint to an internegative. (Obviously, this is a metaphor.)

[Richard Herd]

Thanks!

[Richard Herd]

Oh…and I was very careful with light.
https://forums.creativecow.net/readpost/47/856727

[Richard Herd]

p2
720p/60

[Richard Herd]

Thanks!

[Richard Herd]

Sorry, forgot your other questions: You’ll need to find local contacts for the equipment. That means phone calls, web searches, and visits.

Couple of other quick points:

1. Whoever operated the camera in the two videos you posted, needs to use a tripod and stop using the zoom mechanism.

2. HDV is not film. It’s a point I have to make, on a “techy/pro” site such as the cow. The word “film” is used for film. The word “capture” and or “shoot” are used for video. Calling an HDV shoot “filmmaking” is a bit awkward. Further–and this is totally pedantic, I know–yet I can’t stand it when folks call digital video productions films. If the producer, director, and First AD want to call it “filmmaking,” then I can let that slide because they aren’t as familiar with the gadgetry, but a DP making the slip…ouch!

[Richard Herd]

A “professional crew” comes in many flavors. It’s really hard to say there is a single hard and fast rule, except the golden one: “Do unto others as you’d have them do unto you.” It sounds a bit trite, but it’s absolutely true. You’ll have 10 things that need to all get done simultaneously, and you can’t do them all yourself, so the production has hired pros to help — not slaves to be commanded — to help.

“Anticipate what comes next” is another important concept/rule to abide by and instill in the work ethic. When the shot wraps, you need to be able to say, “Okay, now we need to set up scene X shot y. Camera will be here, and we’ll need this light and that light there.” Anticipation also means knowing where the sun will be when you get further along. Anticipation also means knowing the script.

“Move the lights once” is another important concept/rule because people get tired. Sometimes first ADs are a bit stupid (no offense intended), they want to move lights before the next shot is known. They’re more than likely worried about the budget and the time. But moving the lights before you know camera means everything gets moved twice–or more!–and hey, people get really tired and annoyed plus it adds costs. For example, we anticipate scene x, shot y, and so we set up the lights, but the director doesn’t like what’s in the background so we need to swing it all around. All the lights get moved.

“Never shout and rarely talk” is another important concept (not really a rule) because the idea is, if the crew is so in tune with the first few rules, there’s really nothing else to discuss.

“Know your point of contact” is important because everyone has an opinion, like the First AD mentioned above. But only the director’s opinion matters. After a shot wraps, you need to be sure to tell the director something like “I’m planning to shoot scene x shot y, but we need the frame from you so we can string lights.” Then grab the camera (since its HDV it’s easy) and have the director frame it up, lock the camera down. Then the director can go do what he or she needs to do–actors, wardrobe, makeup, sound (so many things!)–and you and your crew can get to work on lighting. You really can’t light if you don’t know where the camera is and where the subject will be.

“Keep track of time.” Why? Because arguments can get started regarding who caused the production to run behind. This is real. To cover your butt, write down the moment the previous shot ended, the time you spoke with the director, and the time you informed the director “the camera is ready.”

That’s about all I can think of, hope it helps.

[Richard Herd]

Here’s a good site to check out:

https://aicp.com/doingbusiness/index.html