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  • #16
    Originally posted by popcornflix View Post

    they often crop to 2.39, 2.40 or 2.41 -- so you have some breathing room.

    If working in full HD I'll use a comp size of 1920x800. That's exactly 2.4:1. It's nice, even, and easy to remember.
    www.motionplaces.com
    andrewjulian

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    • #17
      Originally posted by Andrew View Post
      If working in full HD I'll use a comp size of 1920x800. That's exactly 2.4:1. It's nice, even, and easy to remember.
      What's the word on 2:1? Is it used often?

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      • #18
        Originally posted by nickjbedford View Post
        What's the word on 2:1? Is it used often?
        I don't think so, but I'm sure someone with a better idea than me will let you know.
        www.motionplaces.com
        andrewjulian

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        • #19
          Nick, you reminded me about the 13 stops of dynamic range. That's the real deal.

          I'm warming up to the idea of you guys shooting ProRes. I CAN see the benefits, but again, not a feature I'm looking very hard into. I will shoot ProRes and DNxHD to compare them to RAW and each other while I'm putting together the new computer system in August. Of course I'll share my research here online.

          My optics will be limited to the Tokina 11-16 and the Tamron 17-50 (non VC) at first but will try to get some ZF.2s or even CP.2s in front of the camera for some real tests. I'm sure more people will be interested in the Tokina and Tamron results as they are more affordable, but I would like to show people the difference.

          Oh, and thanks for reading the blog.
          Facebook - Angelis Digital Studio

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          • #20
            Originally posted by nickjbedford View Post
            What's the word on 2:1? Is it used often?
            The most common aspect ratios in cinema are 1.33:1, 1.78:1, 1.85:1 and 2.39:1

            Apparently, the RED camera offers a 2:1 crop.

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            • #21
              Anyone with experience prepping work for distribution in theaters? I'm interested in resolution sizes and aspect ratios being accepted today.
              Facebook - Angelis Digital Studio

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              • #22
                What I learned in Los Angeles over the weekend...Grain.

                I was in Los Angeles on business this last week. We met with the Director and some of the cast of Sangre Y Familia this weekend. We, one of my business partners, our writer, and two producers. Sangre Y Familia? This is a feature film we're producing, actually I'm just consulting at this point, but look to have a position sometime soon.

                We had a few hours and were lost near the airport. I lived in Santa Monica so I headed that way. We were headed to see Prometheus, (I know) but ended up watching Snow White. So there I was and all I could think about was grain. Several films I made on the 7D when projected looked like 16mm. This bothered me. I use grain in my post production pipeline but when compared to the grain on the screen during Snow White mine was more active, but I think, more importantly, was much smaller than what I was using at work. So now the experimentation shall commence when the new camera comes in. I'm sure resolution is a factor too as is oversampling. Either way, I liked what I saw in LA so I'm going to try and move in that direction.
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                • #23
                  Warming up to Prores, An independent's view of compression.

                  When I first heard about the Blackmagic Design's Cinema Camera ALL I could think about was raw. Raw acquisition, raw workflow, raw green screen plates, Resolve... ALL anyone could sing praises for was the inclusion of 10bit 4:2:2 Prores online though, here, in this community. The other raw people seemed to want CineformRAW.

                  I've been onlining, a not real-time process. You use the original files in this process and it is slow. One of the attractive features of Resolve is that it is a realtime environment that works from the original files, in my case 12bit raw uncompressed cinemaDNG files. The downside is that I've got to build a new computer to really see the benefits here.

                  I've done the mental gymnastics around the raw workflow and the only bottlenecks are going to be around the data flow and storage. I'll need a large RAID 5 volume for feature work. I'm going to make a 2TB RAID 0 internally to test the camera and workflows. That should work.

                  With that, I'm going to shoot Prores, shoot DNxHD, (both with log and 709 settings) and shoot raw. I'll make Prores proxies and compare them against shooting Prores. I have a lot of tests planned because I'm curious now of what the best workflow for me is.

                  What prompted this was money. Why should I buy storage for a client I don't have yet? They'll need three times the amount I can afford to buy for myself, so the RAID 5 can wait but my latest feature can't.

                  It's about saving the lives of cats, dogs, and other domestic animals in kill shelters and putting them into rescues, fostering, and forever homes. Even though we're able to save about 1000 lives a month, there are still as many as 3 million cats and dogs destroyed in America every year.

                  I'd like to get some celebrities involved. I think those interviews should be shot in raw. Footage of the pups and their owners I'd like to see in Prores. I'd like more footage vs. higher IQ in this case. Everything else will be photos and graphics. I have a good scanner and motion graphics experience.

                  Now, of course I've got to run my tests. I may get away from the raw, I may decide to use it for everything. IDK.

                  So, the bottom line is this. I've got around 2TB to make this no-budget doc a reality. I think Prores will be more than good enough. The business plan for the film is to exploit VOD sites like Netflix, HULU, and youtube to raise awareness and money to help buy food and medicine. It's not going up on the big screen, only TV, computer, tablet and phone.
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                  • #24
                    You're doing good work over here, Brad. Keep it up.

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                    • #25
                      Thank's for the good read B.
                      Tom Pierrepont - In-house Camera Operator and Editor (UK)
                      @Tompierrepont
                      www.tompierrepont.com

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                      • #26
                        Hey, Brad. Thanks for making this contribution to the community.

                        How do you feel about getting this some prominence in the form of articles for our "Information" tab?
                        www.bmcuser.com
                        A Landmine Media "User" Community
                        The online resource for the Blackmagic Design Cinema Camera

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                        • #27
                          That sounds cool. Let me know what you need me to do.
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                          • #28
                            1 month to go?

                            So here we are, a month out from delivery of the Blackmagic Design Cinema Camera.

                            I've started talks with a local manufacturer of camera monitors, rigs, and battery systems to bring you BMCC tested rigs. I hope to have some early tests for you after delivery. Maybe some shots of my dog or cats around the neighborhood, you know the pixel peeper stuff... Actually, this is a pretty big deal. We find ourselves as a nation, and I'm guilty too, importing everything and sending our money overseas. I run a small business. When you do business with a small business, a local business, you're paying for someones mortgage, not some CEO's third vacation home. You're helping their kids get braces or helping someone find financial security and stability on their own. I believe in getting the best product, but I believe in keeping the money at home too. I saw a statistic that money spent in the Jewish community is spent 7 times again in that same community before it ever gets outside the circle. That's good business. I drive American thanks to my dad but I keep looking at Toyotas. It is a global market. I have to keep reminding myself of that as I build my business. What makes a good export comes to mind. Do what you're going to do, but think about what I said when you buy something. Think about where that money goes. Isn't Blackmagic Design from Australia? Anyway, these guys I'm talking to are local. Let's see what they've got.

                            I've got a bit of run and gun to do in February on a Hollywood set. I'll see what I can bring home to you guys as far as footage and pictures from BTS.

                            Before all that I've got the documentary on dogs and a youtube webseries in the works. I try to get all the "free stuff" done like planning and boarding and outlining. I don't even have a camera right now. What else have I got to do?

                            I'm taking time now to finish a project I've gotten the picture lock on three times. I redo all of the color each time so I don't end up with a huge Frankenstein master file. I'll explain that later as my workflow is changing right now and I don't know up from down.

                            I'm waiting until the last minute to build the new PC. I may not have enough to build a multi-TB RAID array and this is something I'll need from now on if I want to shoot uncompressed raw. Anyone looking for a DP for their next feature? http://www.imdb.com/name/nm4425766/. I edit and color too.
                            Facebook - Angelis Digital Studio

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                            • #29
                              Multiple Careers as an Independent and the insight it can provide.

                              Making shorts for under $1000 can cause you to wear a lot of hats. I know this goes against convention where you take a specific job, and over the YEARS you move up through the ranks and one day command the camera or whatever it is you're "qualified" to do. This is easier in a movie-industry town like Vancouver or Los Angeles where there are a lot of productions.

                              I'm a bit more rebelious in nature and have a fiercly independent streak. I make a good director, but the synergy comes from being an editor and a shooter. One always informs the other in that relationship. I didn't set out to be an editor, make a living from it, settle down, and make some kids. I happened to have one of the first digital video solutions for the Mac, the Video Vision Studio from Radius. I set up Premiere to use the codec and installed the hardware and voila, instant NLE with tape in and out, plus monitoring. I set it up for myself, to learn and make films for school. I sat through an intro to video editing class and tried tape to tape editing but the NLE blew it away in ease of use and speed.

                              So what happened? Filmmakers started using me as an editor. Mostly documentaries at first, some adult. In fact if you find yourself at the forefront of a new technology, you can bet that the adult industry is right there with you looking for ways to exploit it and make some money.

                              We're off track though. My work as an editor informed my work as a director and a cameraman. Having been through an edit, I had a better idea of what I needed to shoot to get the coverage I was looking for. Difficulties in POST, always inform my work ON SET.

                              I stayed in POST most of my time since college. In fact, thats the healthiest part of my business right now and why it's easier for me to swallow the needs of a realtime 2.5K uncompressed raw workflow. In fact, I build a system around a camera system now. This system and this camera will be made for each other. I find the need to upgrade is less and less this way. I stick with what works. Also, building my own computer systems saves me money and keeps me independent. I priced a similar system to my BMCC system and it was $13,000 more than mine without harddrive arrays for the same performance. Also, Apple doesn't make anything this powerful either. I think only a custom Hackintosh would be able to close the gap and do the job as well but you'll be in driver hell.

                              So now, this healty POST business is informing and feeding my Production business which keeps me independent as well. It's only taken two and a half years, but it's all about working on the right projects (small businesses) and lining ducks up in a row. Before I started this business I was in sales and my post work was as a freelancer. I had no experiences building teams. Production is about having the right team to create the right environment and get the job done. It's about being a team player and a boss. It's about responsibility and freedom.

                              So, if you're a Producer/Writer/Director/Photographer/DP too, there will come a point where you can train or find an experienced partner to leave the reigns to in that area. If not, you know you've got it handled. right?
                              Last edited by Brad Ferrell; 07-04-2012, 05:38 AM.
                              Facebook - Angelis Digital Studio

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                              • #30
                                My relationship with Ikan.

                                If you follow this blog or read any further, you're going to hear about gear from Ikan in use with the BMCC. I believe in full transparency, and the FTC (Federal Trade Commission) requires that bloggers reveal their associations with companies they write about, so here's the deal between them and me.

                                In return for "weekly information posted about the rig and your testing of it and speculation" they let me run with their equipment on my jobs free of charge. They want to satisfy the market of BMCC users with the quality and operability as well as professionalism of their products and people. They'll work with me on creating custom rig configs for the BMCC. They also have some interesting products coming up over the horizon relevant to this community like color correction monitors and LANC control for the BMCC.

                                I'm not a salesman for them. I don't work for them. I'm an independent tester with a blog about filmmaking on BMCUser.com. This shouldn't cause any conflicts of interest between them and me and me and you. Let me know what you think about my work on this. I'd appreciate the feedback.

                                To move forward, I'm picking up the first test rig next week. I'll be using my business partner's 7D at first and I'll ask about availability of the rig before the BMCC comes out for those of you who want to hit the ground running on the shipping date.

                                L8r.
                                Last edited by Brad Ferrell; 07-19-2012, 07:26 AM.
                                Facebook - Angelis Digital Studio

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