Tim Kolb
Forum Replies Created
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[David Cherniack] “We now return to manipulating clips in the delightful Project Manager.”
Ah, yes…the trimmer problem with sync sound sequences…still no good way to handle that is there…
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
HDV downconverted to DV doesn’t have any real advantage in image quality to shooting DV directly. Most would say that acquisition in HD of any kind, even for SD production, creates raw assets that will have some “shelf life” for future use.
Shooting HDV and editing uncompressed SD will make a difference in image quality over DV…but editing DV probably won’t make a better master DV product than shooting DV straight through.
I don’t see a reason NOT to shoot HDV though…having the “future proof” raw footage is a good selling point for clients.
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Worse yet is the posts regarding problem clients…
I’ve posted about experiences with problem clients…after we no longer work with them. Frankly I usually relate facts and am not the least worried about it as I would stand behind everything I’ve said and in many times, related my views to the client directly long before I posted them here.
I suppose one day there will be a client who will track down a vendor on the Cow…I have several clients within our field who use the forums. I’ll have to be on my best behavior.
🙂
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
I think that most of us are using higher-than-standard-definition these days as screen shots have demanded it…
Good luck with your venture.
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Jeron Coolman] “I guess there is supposed to be a way of bypassing the Cineform playback engine and use the Premiere Pro one instead by using the J and L keys. I’ll look forward to trying that as well.”
That doesn’t make sense to me as you would need the CineForm playback engine in a CineForm project as far as I know…
I suppose you could make a separate project based on “Desktop” settings and set the CineForm codec and framesize, but you would lose some serious speed…
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Or you may want to create a soft edged matte (blurry white area for the face and black for the composition you want to cut out) and track-matte it. If you want the face in the clouds, full opacity may not be desirable either…
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[mike velte] “Cineform 4.0 for Pro 2.0 lists “Aspect HD 720X576 50P” as a PAL Project setting with a PAR of 1.422″
Actually, that’s a standard def setting for PAL. I think Jack wants 1280x720p 50.
The newest version of Aspect does handle P2 DVCProHD conversion and will handle 720p 50 either in 1280x720p HDV frame size or 960x720p DVCProHD framesize.
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[tom] “jay, are we to guess at the name of your web site ? :)”
I think you click on the banner.
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Wow…got to thinking so much about space management I didn’t even trip on the obvious. I’m not a cinematographer, but I had this exact issue the other day of a 24p shoot…
Sorry…but excellent advice, Dan.
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Kinos are tough for wide shots…not much kick, so unless they’re recessed out of sight somewhere exceptionally close to what you’re lighting up…
The bounce thing on the ceiling…I don’t know. It’s not a primary school classroom, it’s a poolhall. It’s an “eclectic” scheme of various posters, banners, pictures and memorabilia that make the place just look really trashy and distracting. Garish is OK in the shadows as all that bric-a-brak isn’t pulling attention from your primary shot, but with big pools of flat fill…let’s just say the measure of a beautiful shot isn’t that you can see everything…it’s that you can see important things.
After lighting your primary actors for each shot, then look at where you need isolated pools (or maybe shafts) of light. Think in terms of lighting “pockets” of activity or getting some sort of kicker on some detail of the room that communicates the layout of the space, but don’t try to fill the place with light. Those aren’t operating tables in there…
As far as converting the pool table lights with gels…as long as they aren’t visible as a distratction in the shot, I don’t see why that would be a problem. Just make sure that that homogenized video light temp look is what you want…
TimK,
Director,
Kolb Productions,Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net