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Telecine to Hdd in LA


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#1 Greg Pilon

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Posted 11 August 2008 - 03:05 PM

Does anyone know of a place in LA that could telecine Super 16 footage directly to a HDD so I can bring the footage in to my editing system without renting a deck? Thanks Greg
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#2 Adrian Sierkowski

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Posted 11 August 2008 - 03:10 PM

Anyplace with a spirit Datacine should be able to do this, but beware, it'll be as DPX files so make sure you can deal with them.
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#3 Chris Burke

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Posted 11 August 2008 - 04:48 PM

Does anyone know of a place in LA that could telecine Super 16 footage directly to a HDD so I can bring the footage in to my editing system without renting a deck? Thanks Greg



Most will do this. It is rapidly becoming the norm, particularly with small indie projects. Get the best format they offer and downconvert it as you need to. If you do get DPX files, there are many work arounds to this as well. Check out Pixel Harvest for a great price straight to hard drive.


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#4 Adrian Sierkowski

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Posted 11 August 2008 - 04:51 PM

Chris,
can you mention form DPX work 'rounds ? I have a project about to go out to DPX and well, FCP doesn't natively support it. . and production won't shell for glue tools (and on site conversion adds $$ production doesn't really have). Anything would be nice. I have my own ideas, but I'd love to hear some other workflows.
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#5 Bruce Taylor

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Posted 11 August 2008 - 08:11 PM

You might check out www.cinelicious.tv

He specializes in direct to disc transfers. Paul's a nice guy, too.

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#6 Chris Burke

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Posted 12 August 2008 - 05:06 PM

Chris,
can you mention form DPX work 'rounds ? I have a project about to go out to DPX and well, FCP doesn't natively support it. . and production won't shell for glue tools (and on site conversion adds $$ production doesn't really have). Anything would be nice. I have my own ideas, but I'd love to hear some other workflows.



I was thinking of Gluetools, but there are other utilities from Black Magic and AJA. I have used the Black magic one and it was fine for the small amount of files I had. Pixel harvest offer the Cineform codec which makes it possible to work with the dpx files, but you don't need the huge storage overhead. What are your ideas?

chris

Edited by Chris Burke, 12 August 2008 - 05:07 PM.

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#7 Adrian Sierkowski

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Posted 12 August 2008 - 05:16 PM

Right now, on the cheap as that's the type of production, I'm looking into After Effects to batch convert them to something workable for FCP. Can't afford gluetools or the like. Thankfully, though, having talked with the colorist where I'm looking to transfer here, there's a feeling we can go uncompressed HD to either a FW800 drive and/or their SAN. failing th at, it's DVCam and timecode for now, and a rescan later on . . . though I've learned that "later on" hardly ever comes.
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#8 Chris Burke

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Posted 12 August 2008 - 06:01 PM

Right now, on the cheap as that's the type of production, I'm looking into After Effects to batch convert them to something workable for FCP. Can't afford gluetools or the like. Thankfully, though, having talked with the colorist where I'm looking to transfer here, there's a feeling we can go uncompressed HD to either a FW800 drive and/or their SAN. failing th at, it's DVCam and timecode for now, and a rescan later on . . . though I've learned that "later on" hardly ever comes.



Uncompressed HD 10 bit RGB files are fine for Super 16, unless you are doing green screen. Why not do that. This will probably be the way I go from now on. You have to have a Hd master anyway these days so why not the HDcam SR quality scan?
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#9 Adrian Sierkowski

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Posted 12 August 2008 - 06:10 PM

It's one of the things we're looking into, and probably will wind up doing. I think it's a first for the post, house, though, as they were at first uncertain that the spirit could spit out anything aside from .dpx. So we'll see. I'm just hoping i can get something on the drive or San, in real time, with super high quality. .
No blue/green screen at all, but some color correction and I want to, very much so, deliver in the highest possibly quality so when the short goes out to fests, it does damned well. Not that it'll make any money, of course; but hell, just people seeing something I shot, wherever, well gives me a warm fuzzy feeling.


Normally, in this workflow, I'd opt for DVCProHD100 to tape. 8bit, I know, but HD and on a tape backup which allowed for quick capture of the director/editor into their FCP system. That's just not an option this time :/.
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#10 Chris Burke

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Posted 12 August 2008 - 06:31 PM

It's one of the things we're looking into, and probably will wind up doing. I think it's a first for the post, house, though, as they were at first uncertain that the spirit could spit out anything aside from .dpx. So we'll see. I'm just hoping i can get something on the drive or San, in real time, with super high quality. .
No blue/green screen at all, but some color correction and I want to, very much so, deliver in the highest possibly quality so when the short goes out to fests, it does damned well. Not that it'll make any money, of course; but hell, just people seeing something I shot, wherever, well gives me a warm fuzzy feeling.


Normally, in this workflow, I'd opt for DVCProHD100 to tape. 8bit, I know, but HD and on a tape backup which allowed for quick capture of the director/editor into their FCP system. That's just not an option this time :/.



why not look into the Cineform codec? You could do everything in real time.


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#11 Adrian Sierkowski

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Posted 12 August 2008 - 06:36 PM

I'm not sure if cineform is native in FCP, though. w/o plugings and the like.
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