Ryan Krickow
Forum Replies Created
-
I’m trying to determine how deeply (and where) to look into all this information as I’m the editor and post supervisor. So, if I ask the post house to do an online using DPXs for an HDCAM SR master as well as a downconvert to HDCAM and DVDs for festival screenings I assume the HDCAM SR master could be used for the film-out (but not for screenings). I know it’s probably better to use the DPX files off the hard drive but it seems, from what I’ve read, that many people and post houses just do the film-out from the HDCAM SR master. Any thoughts? Now for the big question… how deep should I journey into this bottomless pit of information? I assume as much as possible but I just want to make sure that I’m at a level where I can communicate the needs of the film and deliver the product. I truly appreciate your assistance Dino. Ryan
-
Just so I can wrap my head around this… Why would a post house provide you with both an HDCAM SR 422 YUV and an HDCAM SR 444 RGB master? How does the difference in color space affect the image and what purpose would each master serve? I really appreciate your help! Ryan
-
Thanks for the info-very helpful. So, would it be better to color grade a film shot on the Red One Camera using 2K DPX files and then create all my video deliverables from that (by converting to a YUV color space I assume) or should I color grade using 2K Prores HQ files which would simplify the creation of my video deliverables. If I work from the DPX I’ll be able to use those same files when I go to do a film-out (though there will have to be another color grading session). If I work with the Prores footage the creation of the video deliverables will be easier (and I’ll save money on storage) but I’d have to go back later anyway and create DPX files when the movie is color graded for the film-out, correct? Thanks again, Ryan
-
If we’re finishing on HDCAM SR I know the maximum audio quality is 24-bit 48kHz. So, if we plan on doing a film-out from the HDCAM SR tape will there be any audio problems there. Is the quality still high enough? My understanding is that it gets compressed even further when creating an optical sound track negative to be put on the print. Also, I’m very curious what most movies in the theater are using- if either of you happen to know? Thanks!
-
We’re shooting on the Red, cutting with Prores Proxies, grading with DPX or Uncompressed (depending on budget) and mastering on HDCAM SR with HDCAM downconverts. Worst case scenario we cut and grade Prores HQ and finish HDCAM.
-
Thanks for your reply Ty. Since I’m in charge of coming up with the post plan I’ll let you know what I’m thinking in terms of sound. We record all the sound in 24bit/48khz and during the sound edit we’ll convert all the sound effects and music to the same bit and sample rate. I’m going to be the sound editor and I’m not sure whether to use Sound Track Pro or Pro Tools- or maybe even FCP since I’m only going to be doing the edit. Then I’ll pass it off to the sound mixers and since we’re a low budget project my plan was to get an LTRT mix. That brings up my next question, will an LTRT mix playback as stereo if the sound system doesn’t support surround? Would that make it redundant to have say an LTRT mix on channels 1&2 and a backup Stereo mix on channels 3&4 of an HDCAM tape? Also, do you have to pay Dolby to create an LTRT mix and what is the price difference between that and 5.1? I apologize for the simplicity of my questions but I’m trying to wrap my head around the broad strokes so I know where to focus my research. Thanks again!