[Script-to-film]

That still doesn’t quite answer my question. I understand that you can ramp. But how do you specifically adjust the rate of growth over time. With the keyframes, how do you adjust a bezier curve on both X and Y at the same time?

[Script-to-film]

Borjis,

I think what Graeme was saying was that if you do all your edits and rendering in HDV and then copy and drop that into a ProRes 422 or Uncompressed sequence and render (or duplicate and then change the codec to ProRes and render), it will replace all the render files with higher quality ones. I think he would contend that it would be exactly the same as editing in ProRes but quicker for those of use with slower systems.

[Script-to-film]

Just to clarify, we’re talking about Uncompressed HD (originated as HDV, but converted to HD 10 bit uncompressed).

[Script-to-film]

Guys, thanks for the advice and encouragement. I’m a strong believer that format and budget have very little to do with quality of outcome. If my film does terrible and doesn’t get into any festivals and sits on my shelf collecting dust (statistically, it may very well do just that), it’s because of poor writing, bad directing and bad acting. Not because of HDV. I’m glad other people out there see that too.

The film is a narrative drama (somewhat comedic at times) but dark. 24P would create a nice feel. However, I’m one of the few it seems that cannot tell visually the difference between the two very well. I think 60i has an interesting look too. The film is 120minutes (I’d like to get it shorter, like 100 minutes if possible). Also, you should know there is a bit of compositing that needs to be done. I’ve heard that progressive is better for compositing and I’ve heard that getting it to ProRes or Uncompressed is a better way to get a nice key. That’s one thing I want to be sure to get right. The composite has to look good. At the top of the post is more information about my system specifics for reference.

With the Nattress software can I go to 24P straight from the timeline or do I have to convert clips and edit/conform in a new 24P timeline and then export?

Also, does anyone know anything about DV Film Maker. I have it and like the results it provides. However, Compressor seems to do a better job making new frames (but it’s absurdly slow; I did the math and it looks like 3 months on my system to get my whole film into 24P Uncompressed). Is Nattress in the same league as Compressor but faster? What is the output of Nattress? HDV codec? ProRes? Uncompressed? Some other output codec?

[Script-to-film]

Guys, thanks for the advice and encouragement. I’m a strong believer that format and budget have very little to do with quality of outcome. If my film does terrible and doesn’t get into any festivals and sits on my shelf collecting dust (statistically, it may very well do just that), it’s because of poor writing, bad directing and bad acting. Not because of HDV. I’m glad other people out there see that too.

The film is a narrative drama (somewhat comedic at times) but dark. 24P would create a nice feel. However, I’m one of the few it seems that cannot tell visually the difference between the two very well. I think 60i has an interesting look too. The film is 120minutes (I’d like to get it shorter, like 100 minutes if possible). Also, you should know there is a bit of compositing that needs to be done. I’ve heard that progressive is better for compositing and I’ve heard that getting it to ProRes or Uncompressed is a better way to get a nice key. That’s one thing I want to be sure to get right. The composite has to look good. At the top of the post is more information about my system specifics for reference.

With the Nattress software can I go to 24P straight from the timeline or do I have to convert clips and edit/conform in a new 24P timeline and then export?

Also, does anyone know anything about DV Film Maker. I have it and like the results it provides. However, Compressor seems to do a better job making new frames (but it’s absurdly slow; I did the math and it looks like 3 months on my system to get my whole film into 24P Uncompressed). Is Nattress in the same league as Compressor but faster? What is the output of Nattress? HDV codec? ProRes? Uncompressed? Some other output codec?

[Script-to-film]

Guys, thanks for the advice and encouragement. I’m a strong believer that format and budget have very little to do with quality of outcome. If my film does terrible and doesn’t get into any festivals and sits on my shelf collecting dust (statistically, it may very well do just that), it’s because of poor writing, bad directing and bad acting. Not because of HDV. I’m glad other people out there see that too.

The film is a narrative drama (somewhat comedic at times) but dark. 24P would create a nice feel. However, I’m one of the few it seems that cannot tell visually the difference between the two very well. I think 60i has an interesting look too. The film is 120minutes (I’d like to get it shorter, like 100 minutes if possible). Also, you should know there is a bit of compositing that needs to be done. I’ve heard that progressive is better for compositing and I’ve heard that getting it to ProRes or Uncompressed is a better way to get a nice key. That’s one thing I want to be sure to get right. The composite has to look good. At the top of the post is more information about my system specifics for reference.

With the Nattress software can I go to 24P straight from the timeline or do I have to convert clips and edit/conform in a new 24P timeline and then export?

Also, does anyone know anything about DV Film Maker. I have it and like the results it provides. However, Compressor seems to do a better job making new frames (but it’s absurdly slow; I did the math and it looks like 3 months on my system to get my whole film into 24P Uncompressed). Is Nattress in the same league as Compressor but faster? What is the output of Nattress? HDV codec? ProRes? Uncompressed? Some other output codec?

[Script-to-film]

Guys, thanks for the advice and encouragement. I’m a strong believer that format and budget have very little to do with quality of outcome. If my film does terrible and doesn’t get into any festivals and sits on my shelf collecting dust (statistically, it may very well do just that), it’s because of poor writing, bad directing and bad acting. Not because of HDV. I’m glad other people out there see that too.

The film is a narrative drama (somewhat comedic at times) but dark. 24P would create a nice feel. However, I’m one of the few it seems that cannot tell visually the difference between the two very well. I think 60i has an interesting look too. The film is 120minutes (I’d like to get it shorter, like 100 minutes if possible). Also, you should know there is a bit of compositing that needs to be done. I’ve heard that progressive is better for compositing and I’ve heard that getting it to ProRes or Uncompressed is a better way to get a nice key. That’s one thing I want to be sure to get right. The composite has to look good. At the top of the post is more information about my system specifics for reference.

With the Nattress software can I go to 24P straight from the timeline or do I have to convert clips and edit/conform in a new 24P timeline and then export?

Also, does anyone know anything about DV Film Maker. I have it and like the results it provides. However, Compressor seems to do a better job making new frames (but it’s absurdly slow; I did the math and it looks like 3 months on my system to get my whole film into 24P Uncompressed). Is Nattress in the same league as Compressor but faster? What is the output of Nattress? HDV codec? ProRes? Uncompressed? Some other output codec?

[Script-to-film]

Thanks for the insight, guys. I couldn’t agree more. I just read on another post someone naysaying another filmmaker for using HDV on a feature. In response to a humble and enthusiastic kid with potentially a great script, he said “Are you kidding? HDV and the Z1 is barely semi pro kit, a feature must be in your dreams I would humbly suggest.” This kind of stuff is like poison. It neglects a huge history of independent filmmaking. The best stuff isn’t necessarily the prettiest stuff that’s shot on Uncompressed Red HD or 35mm. It’s the most interesting stuff. Filmmaking is about story! And it’s like we’re 1800s authors arguing about what typeface and paper looks the most professional. It’s the words that count the most. Not that other stuff isn’t important, but jeez, some people are so hung up on the little stuff that they can’t even see the important things. At Cannes Film Festival in 2003, “Tarnation” won. It was shot on 8mm, Hi8 and miniDV video. From a technical standpoint it looked like crap. But it was extremely interesting and well put together. That’s what counts.

All that being said, which of the workflows would you recommend if I wanted to output a 24P DVD for festival review. You honestly think I should forget 24p for now and just submit when I’m done and see what happens later? If that’s the case, should I still color correct in Color or Shake or just use the 8-bit FCP 3way? Thanks.

Script-to-film

[Script-to-film]

Which of the above workflows is best? Or can you guys suggest a better workflow? Thanks.