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#1 Jon Rosenbloom

Jon Rosenbloom
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Posted 28 April 2008 - 02:08 PM

I'm trying to get my head around some post issues that seem to be obscuring some halfway decent footage I've recently shot.

Shot a graduate school film in super 16mm, composed to 1.85:1 lines on the groundglass. Transferred to HDCAM @ 24p, but the school has only DVCPRO-HD decks, so Post-Works dubbed down to DVCPRO-HD @ 60i, w/ - I assume - a 2:3 pulldown. Isn't this the same (in terms of motion and timecode) as if we had shot 24p on a Varicam? Yet, lots of editing time has been spent on dealing with wandering time-code, and weird motion artifacts (stutter) , including trying to "reverse telecine" the footage.

Per my DP deal, I went to collect my footage. We created a Final Cut sequence, and exported a .mov in dvcpro hd, at the "current" frame rate but the resulting QT (on the computer monitor) was terribly interlaced and ran too fast. I understand computer screens magnify the interlacing of interlaced footage, but it seemed really magnified. How late in the process can we "de-interlace" the footage? This question is more for me and my reel, which is now viewed 99% over the web.

Back to aspect ratio: When this project is finally complete, how do we make it fit on a festival screen @ 1.85:1? A tiny bit of horizontal masking gets us to 1.85 in HD. I assume we will output HD and SD versions (but not film).

Also, my 1.85:1 frame is intact, but, should I be bothered that Post-Works ignored my instructions to transfer Full Gate (which would have given us empty pixels on the sides of the image, but the ability to horizontally reposition our shots), or, should I be satisfied that having a full HD window will need less enlargement when projected?

Here's a nice still from the shoot.
[attachment=3961:Emily__apricot_CU.jpg]

Edited by Jon Rosenbloom, 28 April 2008 - 02:09 PM.

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Glidecam

Opal

Gamma Ray Digital Inc

Aerial Filmworks

Media Blackout - Custom Cables and AKS