Tony
Forum Replies Created
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I highly doubt anyone will reveal their actual “hard cost” to you as this is considered confidential information.
Any experienced producer can reverse engineer the budget given the actual amount a given network will pay and factor in the actual cost for the entire production to decide if the job can actually be done and if anything will be left over for profit.
Tony Salgado
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Go to the GV forum and read about the push back several months on the release of the infinity camcorder.
Tony Salgado
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as compared to or versus what other monitors?
How critical are your needs.
Color critical as in final color grading or just “good enough”.
Tony Salgado
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You now have no leverage and will be at the mercy of whatever the client is willing to pay you.
Never start a job without first discussing how much you will charge and what deliverables and services the client will receive.
No one here on this forum can tell you what to charge because we do not know your skill sets, experience, or talent level and the current market rate in your area for similar services.
That said you could charge anywhere between $100 to $10,000 and see how the client reacts.
Your case is the worst one to be in because discussing compensation (with no prior deal) after the job is completed rarely ends up in your favor.
Tony Salgado
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Michael I suggest you consult with a qualified post production facility that is familar with the Viper workflow if you are sincerely interested in receiving the full benefits of shooting 4:4:4.
It makes little sense to try to experiment with FCP and fail without the proper skill set and tools required to pull off the job successfully.
Tony Salgado
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Matrix settings can be quite subjective and Steve’s recommendation to set the values to zero is a safe way but will result in very low saturation values for your shooting. You should be viewing the waveform monitor with in Flat mode as well as checking it in the chroma mode to see how much saturation you actually have when the matrix is turned on. The waveform monitor is more accurate to determine if values are illegal than looking at the vectorscope which can be misleading at times.
The best method to set up matrix in a camera is to hire an experienced video controller/video engineer who uses a DSC cam align chart, waveform vectorscope, and a color critical monitor to build a matrix setting which is pleasing but also comply with legal broadcast limits.
Such a process is one of the best method to create matrix values that match from camera to camera.
For example if you like a particular Sony Matrix you can use that as a baseline to build that same matrix “look” on your SPX-800.
Tony Salgado
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If you are looking for maximum color correction capability uncompressed is the way to go versus an 8 bit compressed codec such as dvcpro HD.
I recommend conducting a side by side and see if the compression hit is good enough for you to change over.
Tony Salgado
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Are you shooting 1080 50i by chance?
If so I recommend you shoot in progressive at 24P or 25P depending on where you are located in the world.
Tony Salgado
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And while you are at it buy a blackburst generator so Bob does not rip into you on this one also.
Any professional edit suite must use a waveform monitor to verify the signal flow and for fullfilling proper broadcast and/or delivery specifications.
Tony Salgado
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The proper and most bullet proof method is to use a master timecode generator and black burst generator which providing genlock to the cameras.
Or you could use Denecke SB-T timecode boxes which provide a crystal generated timecode generator along with black burst.
Even if you just looped out of one camera to another this will work if the second camera is jam synced properly to the first camera which requires making sure all the camera menu settings are properly set. Sending the second camera a reference source to genlock to would be ideal also.
At times like this I hate to reminder you that hiring a qualified video engineer or EIC would have been money well spent versus shelling out the extra daily rental for the vtr to try and trouble shoot what went wrong on the shoot.
Apple will not be able to provide any assistance on this matter as it is clearly an issue with the original field production workflow and not a FCP issue so don’t expect much from them.
By the way how are you capturing the footage Firewire, SD-SDI, analog. How are you capturing the audio?
Do the two routes video and audio match ie digital with digital or analog with analog not mixed.
Tony Salgado