Steve Wargo
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COW Coins
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Premiere Pro Coins
Forum Replies Created
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We need to keep the time code intact becase we have to insert close ups from a second camera. The second camera was the lead camera for the TC and it had only one break in it.
I tried every combination possible as far as Capture Now, etc but nothing seemed to work.
I know that I can do a FW dub and maintain the original code and maybe the dub will work better because of the continuous control track. That’s next.
We’ve got most of it in but it’s gruelling
And yes, Arizona is just like a convection oven.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Mr. Palmer
I found this post in the archive.
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I heard the Bat Phone ringing…CineAlta Night will be on Monday April 24th 7ish and 9ish at Ballys Conference Center same as last year.
Hope this helps
Michael Bravin
Chief Technology Officer
Band Pro FIlm & Digital>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Sony CineAlta cameras can shoot in 23.98
Before you record your audio, talk to someone who has gone through the process. We shot three features last year and on one of them, the director insisted that the audio be recorded in 23.98 to match the video. I have “heard” that they are having sync issues.
Please read the following before having that discussion. This was lifted directy from Location Sound’s website. You will find the same info on Deneke’s website. They make the time code slates.
Read it carefully. Contact the pros who have done this. Our two features that were shot at 23.98 and audio recorded on a 744 (Rented from Location Sound)are perfectly in sync.
If possible, please rent or buy from Location Sound. They’re great!
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How To Stay In Sync With HD Cameras
Everyday, my phone rings and the first words I hear are,
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Yep. I will be at the breakfast.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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[David Slater] “ok hmmm isn’t it 60i off the HD SDI if you shot in 23.98”
Hmmmm This will need to be addressed. I will be at NAB from Sunday till Thursday. We are looking at the XD-HD process and audio gear.
Using the camera for sound is foolproof. It does work. I need to look at some more specs. And, I believe the link is directly over to the right somewhere.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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23.98 would be the frame rate to use if you wish to have the feel of film. You will create a 23.98 sequence in FCP and roll of a 23.98 master to tape first. You can also render your timeline to include pulldown.
If you plane to go to SD also, you need to decide right now if you will do a center cut of the 16×9 frame or use letterbox style.
This is a rather long conversation to have and I would be happy to go over it with you at another time.
We are in the final touches of a feature film we shot on the F-900 and will soon be doing our SD downconverts and everything has been very smooth up to now.
Record your external audio at 29.97.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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My F-900 goes to 1035 every time the battery gets low.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Hey Hey Hey! Those were Kiki wipes. Named after the obnoxious **** that was their (Newtek and then Play) evangelist for years.
David,
I’m with you on the Alba thing. How soon?Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Leo got me on this one. When we light for green screen that will be processed on a Discreet Flame, we light the green at 40%. Otherwise, we’re closer to 60% as my collegue suggests. Some think that you need to flood the green with light when actually, the opposite is best. Also, you only need to key the area directly surrounding the talent and create a mask to cut the image beyond that.
Also, when we shoot GS with a 16×9 camera, we turn the camera on it’s side and fill the imager with as much subject as possible, making the surrounding edge as clean as we can.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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The EZ-FX jib is way overkill for a small camera. We use ours for our 37lb HD package. Love the jib, though.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!