| | | | Final Cut Pro unusable for big projects?
by Christoph Strothjohann on Jun 21, 2008 at 3:02:21 pm
in the Apple Final Cut Pro Forum
I´m an Assistant Editor on a european movie. It was shot on 35mm film runniing 24fps. We´re editing on final cut pro 6.0.3 (on OsX 10.5.3) using the aja io hd (latest software and firmware) to capture video from hd ... | | | | |
| | | | Getting a handle on HD-SDI
by Mads Nybo Jørgensen on Oct 4, 2008 at 2:30:54 pm
in the HD High-End Forum
carrier agreed by an international standard committee and should be the same no matter what camera, vtr, mixer or other kit that you use. In essence; if you compare it to a 35mm film that will fit into all 35mm ... | | | | |
| | | | Cine Alta 900 Lens Equivalence
by john sharaf on Oct 5, 2008 at 10:08:49 pm
in the Sony CineAlta - XDCAM Forum
Tony, Simple formula. Video lens focal length (on 2/3" imager like F900) X2.5 yields 35mm focal length. For example at 30mm on video = 75mm on 35mm Film Camera. The thing to remember is that the field of view will ... | | | | |
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RED Camera
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Exposing the RED: Perfect Exposure, Every Time
Director DP, REDtrepreneur, early adopter and obsessed student of the RED camera system David Battistella takes a closer look at how to hit the sweet spot on the RED sensor. David shows how understanding REDs inner workings will help you expose your scene just right, every time.
Feature
Author: David Battistella |
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| | | | News: New Deal Studios Expands Digital Division
by Cow News Droid on Jul 9, 2008 at 4:54:37 pm
in the News & Press Releases Forum
enabling them to handle any number of effects shots quickly and efficiently." New Deal has most recently added a full Digital Intermediate suite with a 2K digital and 35mm film projector for client timing sessions, screenings and work review. NDS ... | | | | |
| | | | Canon XHA1
by Todd Terry on Sep 28, 2008 at 2:30:53 pm
in the HDV Format Forum
can show some samples from the XLH1 which is fundamentally the same camera except for the lens. We shoot lots of television commercials, and those that we do not shoot on 35mm film are shot exclusively with the XLH1, which ... | | | | |
| | | | News: S.two Digital Field Recorders
by Cow News Droid on Apr 10, 2008 at 11:54:34 pm
in the News & Press Releases Forum
One of the main attractions of using the Arriflex D-21 is that it provides a correctly sized super 35mm sensor using a 4 x 3 aspect ratio; this allows the use of standard 35mm film lenses, both Spherical and Anamorphic—S.two ... | | | | |
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Apple Color
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The Forbidden Kingdom: Jackie Chan. Jet Li. FCP.
A Creative Cow Exclusive! DigitalFilm Trees Zed Saeed has helped create pioneering digital workflows built around FCP, custom-designed for large-scale productions. Their biggest challenge so far has come on The Forbidden Kingdom, an epic film partnering Jackie Chan and Jet Li for the first time -- with production and post in China, Korea, Australia, and multiple locations in the US. Heres a look at how they put it all together with FCP, Xserve, XML, Color, file-based workflows...and hard, hard work.
Feature
Author: Zed Saeed |
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| | | | lossless 4x smaller does exist!
by Chris Wright on Sep 20, 2008 at 4:51:38 am
in the Motion Graphics - How Do I? Forum
it takes up a lot of space. JPEG 2000 can be set lossless and is 4 times smaller than animation, supports millions+ alpha. Resolutions of 8192x8192 Pixel (e.g. 4096x3112 for 35mm Film Scans) Colorspace: sRGB, SRGB-YCC Number of color components: ... | | | | |
| | | | 23.98 or 29.97ND for DOUBLE-SYSTEM HVX SHOOT?
by Jim Blokland on Aug 17, 2007 at 3:31:30 pm
in the Apple Final Cut Pro Forum
Hello Cow-ers: Cutting a feature shot on the HVX200 at 24p (23.98), delivering for 35mm film-out. We will be recording guide track to camera, and double system on a four-track Sound Design 744T. I will be synching audio to picture ... | | | | |
| | | | PDW 700 and 24P
by Emmanuel Plakiotis on Aug 16, 2008 at 11:31:47 pm
in the Sony CineAlta - XDCAM Forum
in two other more obvious ways: 1. The depth of field which is swallower in film projects, in any given aperture, because most video cameras have smaller sensors than the 35mm film frame (notable exceptions arri d20, Genesis, F35, Red ... | | | | |
| | | | Captured Image Too Dark
by Eric Naylor on Aug 12, 2008 at 8:49:08 pm
in the Adobe Premiere Pro Forum
Okay, I've tried several forums, but could not find any answers: Equipment: Canon HV20 w RedRock 35mm film attachment Software: Premiere CS3 The image after capture is overly dark, and in some place completely dark. Oddly, some of the footage ... | | | | |
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Adobe After Effects
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Building Cinematic Composites: A Creative COW Magazine Extra
Building cinematic composites takes more than software. It takes careful planning, understanding the drama in every shot, and a sense of magic. In this Creative COW Magazine extra, we share our conversation with director Mark Allen, discussing his short film, "Least Likely," a 60-second science fiction epic. We've got the film here, along with some HD images from it. Prepare to be amazed.
Feature, People / Interview
Author: Tim Wilson |
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| | | | FCP 8 bit in After Effects with 3/2 pulldown
by Ed Ethridge on Aug 11, 2008 at 11:14:00 pm
in the AJA Kona Forum
Y. On a hunch I repositioned my After Effects layers to ODD values for Y and VOILA! The problem disappeared. I should mention that the footage in question was all shot on 35mm film and included 3/2 pulldown which I ... | | | | |
| | | | LETUS35 Extreme
by Peter Simpson on Aug 7, 2008 at 12:14:28 am
in the HD High-End Forum
We had the nikon mount and used ordinary still 35mm film nikon lenses. A variety of primes and a zoom I think from memory. Focus was sharp across the image. A bit of vignetting on the wider prime but I ... | | | | |
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Adobe After Effects
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Cineon Files: What They Are, and How To Work With Them
Expert film compositor Pete OConnell takes you through the world of Cineon files, including exactly what they are, how they work, and how to work with them in Adobe After Effects. If you work with film files or want to, you need to read this article.
High Bandwidth/Large File Warning: Due to the fact that this article deals with film images, the image sizes are large and this article contains 32MB of images in the HTML file.
Tutorial, Feature
Author: Pete O'Connell |
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HD High-End
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Dress for Success with RED
Not all production with the RED camera is Hollywood-scale. Craig Meadows is in a smaller market, doing mostly local and regional spots. Even though he's only had his RED for a short time, he tells you here about how it works, its workflow, and how it's already making a big difference for his clients.
Feature
Author: Craig Meadows |
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Apple Final Cut Pro
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Seeing RED in Montreal: A Creative COW Real Time Report
None of the RED cameras have yet made their way into an owner's hands in Montreal, so Mathieu Marano helped arrange an introduction for the Final Cut Montreal user group. In this Creative COW Real Time Report, he shares the details of that meeting, as well as his first experiences with RED post-production workflow. Since this is a real time report, stay tuned for updates as Mathieu and the producers of Montreal learn more.
Review
Author: Mathieu Marano |
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Cinematography
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Shooting with RED: Testing, testing...
CreativeCOW leader Gary Adcock's experience shooting both film and HD gives him a unique perspective as he takes you along for thorough testing with the new RED camera. In part 1 of this series, he focuses on the camera's benefits and shortcomings of the camera itself, as well as some of the challenges shooting with it.
Feature
Author: Gary Adcock |
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Synthetic Aperture
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Marco Solorio reviews: Synthetic Aperture's Color Finesse v1.0.4
Don't have the hundreds of thousands of dollars for a DaVinci color-correction system? But you do have After Effects? In a jaw-dropping review of Synthetic Aperture's 'Color Finesse,' Marco Solorio shows how Color Finesse far surpasses the capabilities of standard color correction tools -- as well as the error-prone realities of using standard color correction plug-ins. The differences are shocking! Note: this is NOT an article on how to color correct (although some of the principles are explored in the article and there is much to be learned here).
Review
Author: Marco Solorio |
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Aurora Video Systems
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A little animated about 24p?
For those of us that are still ''young at heart'' and watch cartoons on TV, you'll notice that even today many animations are still hand drawn at 24 Frames Per Second (FPS) or 24 ''fips'' as it's sometimes referred. In this article, Marco Solorio explains why this time old honored technique can still be used today for maximizing your production time and most importantly, the look and feel of your animations.
Feature
Author: Marco Solorio |
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Ciprico storage solutions
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Joaquin Gil reviews the Huge-4110
CreativeCOW.net contributing editor Joaquin Gil shares his experience with storage needs during the creation of his last feature film. In this article, Kino discusses his success with the MediaVault 4110 from HUGE-Ciprico. He concludes with...''With the 4110, HUGE Ciprico addresses a market segment that needs large dataspaces in minimum physical space. A natural for the IT data center, the eCommerce nests, banking and legal data repositories and in general any data intensive application where reliability and speed are a must. This makes it very suitable also for animation and effects houses, middle sized to large editing and sound studios and the semi-nomad setups typical of reality shows, because of its sturdiness, practicality of the connectors and being a standard 19'' rack-mountable device.''
Review
Author: Joaquin Gil |
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