Stevesherrick
Forum Replies Created
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Thanks Shane!
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Actually, I think he’s referring to deleted scenes type of footage which is actual film footage, but sometimes not brought to the final stage of the process because it was determined it wouldn’t be needed. And yes, sometimes they add behind the scenes stuff too, but I assume he knows the difference with that stuff. As I alluded to, it does go beyond the film stock itself, lenses, lighting, set design, acting, it’s all needed to give that “Movie” feel. Very difficult for us indie filmmakers to immitate, which is why I think the best indie films are the ones that don’t necessarily try to immitate them, but find their own style within the medium they are using.
Steve
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I assume you mean when they show you footage before color timing, etc. In film, a lot starts with the choice of film stock. Then you have color timing, etc. which can get the look just right. And remember, they are showing you footage from a workprint, not the negative most likely. With Digital Intermediate now the color correcting can really be fine tuned. It’s quite a process, and very difficult to achieve when using prosumer video. Also, they are using incredible film lenses which can really give things a look that is also difficult to achieve with a prosumer video lens.
Having said that, there are things you can do to work towards a much more filmic image using a video camera. Lighting and great color correction can go a long way.
Steve
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I’ll let you know how it works, read/write speeds, etc. You do the same, and we’ll compare notes.
Thanks,
Steve -
Took my Mac Mini with me on vacation and was able to do editing with FCP, and couldn’t have been happier. Didn’t need to bring my full rig. So it can be done. I was using an external Firewire drive for my media. Even captured DV material with this system with no glitches. Now I only did about 3 streams (layers) of edits, but still, I was happy. So if you don’t need to push the system really hard, it certainly is capable of doing DV editing.
Steve
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But doing it this way does not create a true subclip with Master Clip status. I was wondering if there was a way to do this from the viewer. I was hoping there was a way to tell it to ignore audio tracks, but there appears to be no solution for this task.
Steve
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I was hoping to use the 24Bit audio in FCP so that I can export that out to a 24Bit Pro Tools session, i.e. keeping everything in a 24Bit realm. But you may be onto something. The audio that was recorded with the video is 16bit 48K, and I’m now merging 24bit audio with it. Perhaps that is causing the shift.
The rushes were captured in long chunks, i.e. a full tape, unless there was a timecode break. I’ve been subclipping into shots and then attempting to merge my multitrack audio with those subclips creating an edit ready clip. What would be cool is if you could just subclip the video, and ignore the audio track that was recorded with it, but I’m guessing that’s not possible. Sounds like I’ll have to edit the video clips into a sequence and then do my multitrack synching in the timeline. Then do the merge from there. It would seem to be much faster to do merging from the browser because you just set the in point on each clip.
I’m open to more suggestions if there is another workflow I should explore.
Thanks,
Steve