Scott Smith
Forum Replies Created
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. . . And I DO believe they were giving me a solution that is likely to work, with several fiber connections, and SAS drives. They were certainly trying to ensure I had ample bandwidth. I am just extremely hesitant to go with an unproven scenario – there is just too much at stake.
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Thanks for the response, Bob.
That was my feeling, but wasn’t certain if pretty high end IT stuff was still up to the task. I gather it could be made to be up to the task, but would have a significant amount of growing pains in the process as they learned what doesn’t work. Meanwhile my department suffers the consequences.
How do you feel about an EVO Raid/SAN with a Cache-a archival system, but with them performing data backups for me? Do you think regular backups are a good place to utilize their services by sending them a single fiber channel off our San? (Assuming they will even agree to interface with the EVO)
By the way, I may have been a little harsh with phrases like “reared their ample sized heads”. They are good guys, trying to do the best they can for us, and likely assume their system is superior.-which it may even possibly be, though I don’t particularly want to be the Guinea Pig for that experiment.
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Thanks for that offer, Eric. I may take you up on that one day soon. I’ve been dealing with Jay Heikkila a bit a few months ago, before we hit a roadblock.
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Thanks. You have helped me keep my sanity, since that made no sense to me. It is a problem of the viewer/editing system, not in my understanding of what constitutes stereo.
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It is possible that when the post house imported the files into their editing system, that their system interpreted them as 4 individual mono files was automatically creating a mix mono. It could just be that, because otherwise makes no sense to me.
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sorry. just realized the dates and versions being discussed.
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Oh yes. I’m certainly planning on the shooting being on sticks with 99% static shots, and edited with simple cuts. I’m not the editor on this, but I think the editor is on the same page with me there. And he’s good with effects and the old film look. I’m predominantly the engineer of our department, but am more familiar with SLR shooting than most of our videographers, so am the shooter on this. We thought starting out shooting on a DSLR with a prime lens would be much better than a normal video camera.
My main concern is shooting something that is going to look like Old Film rather than “HD with Effects” after it’s edited. Sometimes there is just no substitute for capturing the footage in just the right way. I certainly appreciate all of the advice.
Do you think a Gaussian Blur would come off looking as good as shooting with less detail and possibly a mild optical diffusion filter?
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Thanks Kevin. I’ve notice most of the silent movies are as you said on set, very theatrical. Though the Keystone Kops – which we are a little closer to emulating – appear to be largely outside and non-setup or lit. You are right about the acting. Actually, that is one of the reasons we chose this format. The original idea was for something more Casablanca’ish. We were concerned about getting some bad acting from our non-professional actor pool. We figured the stage style over-acting and complete lack of audio recording would actually help us out there, and be the better/easier option.
I’m staff at a University, with limited budget. We have some very good, talented people on staff as shooters and editors, but our acting pool are a bunch of random faculty or students. We DID book the School Mascot. And we’ve acquired a working Model-T Ford for use.
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That is my typical strategy as well. I just thought that in this case, you’d still see a digital quality in it if I got a nice crisp 1080P.
I think I am definitely with you on Color/B&W, though I think I’ll quickly switch to B&W during shooting just to check that all of the colors aren’t actually washed out into some neutral gray without me realizing it. -
Disclaimer: It is possible that I may be confused, or behind a software version.
BUT, if you are using Final Cut Pro and Compressor, it would also stand to reason you will use DVD Studio Pro. In DVDSP, you can make an HD DVD project progressive scan, but the SD DVD projects are all interlaced. So if you are making a Standard Def DVD in DVDSP, it will be interlaced.
What I don’t know is if you start with progressive, transcode to MPEG2 progressive, then make a SD DVD in DVDSP, what happens to the progressive scan’s extra lines, as it makes it interlaced?