First Super16 Gig
Posted 05 January 2006 - 08:00 PM
I'm about to embark on my first Super 16 project and I'm wondering if anyone has any insights, experiences, recommendations, advice, ect. that they would like to share. I'm not totally green, just slightly to the film side of things. I was a gaffer for about 5 years and about 3 years ago I bought an HD camera package and have been shooting ever since. The project is a pair of spec spots, both of which are interior settings. I have rented an Arri SR3 and a set of Zeiss super speeds. We're shooting on 7205/250D mostly because I have a few windows in the shot. My lighting package is small but should suffice just fine. I have a pair of 1200 Par's, 4' and 2' Kino Flo's, and an assortment of tungsten units 1k on down. The 2 spots focus on an older couple around a large dinner table, fairly simple probably no more than a half a dozen set ups. I think I've got things worked out fairly well. Post will be done on an Avid DS system. We're transferring on a C-reality and going through a Da vinci for color correction ending up on D5. At this point it looks like we will have to transfer from D5 to dvcprohd for ingest into the Avid DS system. I'm sure it would be better to go directly off the D5 but that is cost prohibitive at this point. So thats basically the low down. Any ideas or recommendations, things to keep my eye out for, ect would be greatly appreciated. I look forward to hearing everyones thoughts. Thanks in advance.
Director of Photography
Visions of Light, Inc.
Posted 06 January 2006 - 05:31 AM
Something to maybe check is the ability of the TK op to export data to harddrive and not to tape - I saw some TK ops talking about this - couple of probs with this - got to make sure the avid can bring it in, got to make sure it is high quality (10bit etc) - but it might work out cost wise and the TK op might be keen to do it
Posted 06 January 2006 - 10:31 AM
Whenever I've done a film spot, we grade it during the telecine. I doubt I'm the only one around here who wouldn't trust the telecine guys with a one-light, there are too many ways to screw it up.
Posted 06 January 2006 - 03:00 PM
Once the edit is complete you take the film and the EDL to a proper TK house and grade only the sections you need - otherwise you pay to grade 2.3 hours of footage when you only need to pay to grade 59sec of it
The TK op can then focus on grading the shots that will be used in the final EDL -
so basically do not involve a TK Op or House until the edit is done
hope that is clearer
Posted 06 January 2006 - 03:34 PM
although I have to say I haven't shot any spots that ended up with 2+ hours of footage (more like 40 minutes to an hour) but really with only a few set-ups involved, (and, i like to think, my consistent exposures:)) the grading sessions have usually gone pretty fast. And on top of it all, I doubt the deadlines would have allowed a return to telecine after editing!
Posted 06 January 2006 - 09:58 PM
Posted 08 January 2006 - 07:30 PM