Walter Biscardi
Forum Replies Created
-
[Bill Willins] “Thanks Jeremy. Do you think FCP will handle this codec natively in its next major re-write…coming in the not to distant future ?”
Really none of us can offer insight on that one. You will find out the same time the rest of us find out. Whenever Apple decides to release a revised version of the suite. When that will be, I would not venture a guess.
I’ll be at NAB in April so if Apple decides to show us something, I’ll get to see it. If not, well I’ll be spending a lot of time at the Avid and Adobe booths.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
-
Flanders Scientific makes high quality color reference monitors at the lowest prices I’ve seen. We run the FSI 1760W, 1770W and 2460W monitors here. They are simply outstanding and you can trust them for color correction and critical color viewing.
For a capture card, depending on your needs, you’ll probably do well with an AJA Kona LHi.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
-
[Shane Ross] “HDV sucks…pure and simple.”
Yep, you can try to dress it all as much as possible, capture uncompressed, heck capture 4:4:4 if you want, but it’s still crappy HDV underneath.
This really requires a LOT of work in color correction. At least with Apple Color you can really target the excessive noise in the individual color channels. This helps out a lot to mask the noise.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
-
[Rafael Amador] “Tape based HD formats, as DVCProHD or HDV, are captured through FW.”
They can be or they can be captured through capture cards. This allows you the flexibility to properly convert these formats to ProRes for example.
[Rafael Amador] “If I’m not wrong, with the only HD format you’d need an IO it would be HDCAM.”
D5 would be another.
The other BIG advantage of the capture card is of course confidence monitoring to a broadcast monitor.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
-
[Rafael Amador] “BTW, a “field monitor” should work with BATTERIES. That’s part of the concept.”
BTW, FSI monitors run on standard batteries in the field. (Anton Bauer, Frezzi, etc…) That’s part of the concept.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
-
[s regian] “Slight clarification… much of the monitor use will be on “studio acquisition,” so size and cost, while important, are not the main requirements: the shooter wants to be confident that footage displayed on the monitor will be what it really looks like in post so he doesn’t have to spend a lot of time “fixing it.””
The FSI 1760 / 1770W series can be put into a travel case and rack system so it would travel better than the 24″ series. They also have a field stand that keeps them securely upright during shoots.
Here’s all the monitor accessories for the FSI monitors.
https://www.flandersscientific.com/index/Monitor_Accessories
The only difference between the 1760W and the 1770W is that the 70 has an LED backlight so the colors are accurate from the moment you turn the unit on. The 60 has to warm up for 30 minutes and then it’s good to go.
For a studio situation, then you definitely want the FSI. Especially the 17″ series is designed to travel, especially with all the accessories.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
-
System Setup?
Capture Card?
Media Array?
Timeline Settings?
Is everything fully rendered in your timeline?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
-
Digital Cinema Projection files is what I believe you are referring to.
You can make them via a third party application around $800, but quite honestly unless you absolutely know what you are doing, I would not recommend this. This is the digital equivalent of making a film print of your feature.
We were looking at this process but then found it was quite expensive and there are upwards of a dozen different DCP formats. If you don’t deliver the correct DCP format for the theater / projection system, they will not be able to play your film.
So you have to be prepared to make multiple DCP versions of your film. It gets very expensive very quickly.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
-
The share function from FCP is marginal at best and I’ve not seen a good quality disc come from that yet.
For “Play Only” BluRay discs used at screenings and film festivals we create the MPEG-2 / AC-3 files in Compressor, then author the disc in Adobe Encore and finally burn the disc with Toast or Nero.
For fully authored BluRay discs we use NetBlender DoStudio to author the disc.
The BIG piece of advice – purchase a re-writeable BluRay disc for testing. You can burn and reburn it all you want without having to pay for a new BluRay disc each time. Once that works correctly, then copy it to a regular BluRay disc.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
-
[Rafael Amador] “Sorry to ask you; Do you know what are you talking about?
rafael”I believe he does Rafael.
He’s saying that the DreamColor is only around $2500 so he would use it in the field because it’s cheaper.
The FSI 2460W is $5,000 so he would use it in the edit suite.
Of course another option in the field is the FSI 0750W which is a fully accurate 7″ field monitor. We have one here at the shop and it’s flat out amazing.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.