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    Josh Blue 1080 24p at 220 theaters Nov 9
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    If you'd like a big screen look at the HVX, we shot Last Comic Standing winner Josh Blue's Big Screen event with 4 of them (the boom cam had a JVC 16:9 DVCPRO camera as it was the only way to remote it with what was available).

    National Cinemedia is presenting this event in 220 theatres nationwide ( http://bigscreenboxoffice.com/ for nearest theater). They have to drop down to 720 as that is all their digital projectors can do, but it should look quite good. We are also cutting a Bravo special and the DVD will be available "Download to Burn" exclusively from CinemaNow.com (in SD) until Feb 1, when the regular brick & mortar DVD will be in stores.

    We used 4 Firestores and had 1 go down during the first show, and so we gathered all the P2s we had and put that camera on those. In between shows, we had 4 PC's set up in a room to dump the Firestores so they would be ready for the second show.

    I edited using Cineform Aspect, but delivery to National Cinemedia was a problem, so I had to go back and re-edit in Final Cut. Did everything on a Firewire 800 Iomega 1TB drive.

    The show features 2 different performance locations and lighting situations. And Josh is one of the funniest people on the planet. It should be a solid showcase of the HVX if you have any clients or producers sitting on the fence.

    Bernie Murray


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    Member Andrew Clark's Avatar
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    Quote Originally Posted by bermurray
    ...(the boom cam had a JVC 16:9 DVCPRO camera as it was the only way to remote it with what was available).

    I edited using Cineform Aspect, but delivery to National Cinemedia was a problem, so I had to go back and re-edit in Final Cut. Did everything on a Firewire 800 Iomega 1TB drive. Bernie Murray
    JVC & DVCPro? I thought DVCPro was a Panasonic only format?

    Curious to hear what the exact problem(s) were in trying to deliver using Cineform Aspect?

    Congrats on the project though!! Wish you continued success in your future projects.


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    Hi Andrew,

    On the JVC question, that's what my Boom contractor said. I got it on a hard disk as a .mov file and it played through the standard DV/DVCPRO codec. It was not HD, just the standard 720x480 but anamorphic (squeezed, I opened up to 16:9 and uprezzed in Final Cut).

    I rendered the files out as an Uncompressed AVI at 1280x720 and some of the frames had an odd interlace/blur look (especailly strange since it was progressive). I could send you some sample frames if you're real interested.
    Anyway, NCM had 8 Final Cut machines they were used to exporting out of, so I just re-did it in Final Cut and took in the hard drive. In that case, using the new Easy Setup for 1080 24p (apparently just released) each frame looked sharp (except of course for shutter open movement blurring) as if a 35mm frame (which is what I'm used to).

    Bernie


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    Notify Cineform!!
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    Member Andrew Clark's Avatar
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    Hey Bernie -

    That's a bummer you had to "re-edit" your project. I'd suggest to notify the folks over at Cineform (if you haven't already) as they seem to be really responsive in assisting their customers.

    I'm looking to put together an editing system myself, but want to be sure of the workflow for working with both P2 and HDV content in that there will be as few "gotchas" as possible.


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    I have to say I am the biggest non MAC guy you will ever meet. But when it came down to handling the HVX output, Final Cut was clearly superior to using Premiere with Cineform. One other thing we were never able to fully achieve, using Premiere output or even live type on the MAC was a smooth scrolling credit roll.

    Bernie


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    Edius Broadcast 4
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    Member Andrew Clark's Avatar
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    I wonder if EB4 has output / title problems. This seems to be "the" NLE for accepting and editing P2 material and most any other format out there for that matter.

    It would be nice if EB4 bundled some audio and graphics and DVD programs with it.


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    Senior Member Jim Arthurs's Avatar
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    Hi Bernie, congrats!

    I saw the ad for the screening last night at the local CineMark theatre... too bad the house lights were up so bright, washing out the screen.

    As to the scrolling credits, if you're doing them at 24fps there's no way you can have them fast AND smooth. Just isn't. The best you can do is add motion blur to them to decrease the strobing, which unfortunately decreases legibility. However, if you do them at the your deliverable frame rate (interlaced video framerate I'm assuming) then you stand a much better chance, due to 60 fields per second vrs 24 frames/second.

    Regards,
    Jim Arthurs


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    Could have been JVC HDV re-encoded using DVCProHD Codec to be able to be edited in FCP Versions prior to 5.1.2... Before 5.1.2, we used to use LumiereHD to capture JVC HDPro 720p24 and encode it using DVCProHD to bring into final cut...
    ---www.abstractheory.com---


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    Thanks Jim.

    On the credits, next time I'm in 24 frames, I'll use full screen "cards" rather than scroll. There was just nothing we could do to make them look good.

    I guess that reveals my age saying "cards", but my last feature that was actually in the deal memo language with the actors. Still.

    Bernie Murray


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    Senior Member Jim Arthurs's Avatar
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    Quote Originally Posted by bermurray
    Thanks Jim.

    On the credits, next time I'm in 24 frames, I'll use full screen "cards" rather than scroll. There was just nothing we could do to make them look good.

    I guess that reveals my age saying "cards", but my last feature that was actually in the deal memo language with the actors. Still.

    Bernie Murray
    PM me on the next gig and I'll be glad to talk about the credit issue... movie credits work because they move very slow compared to most credits on "video". When you have 60 discreet positions per second, you can really chuck things up or down the screen compared to 24.

    As to the "card" language... I hear you, and in fact, I actually have done my share of "cards" on black cardstock in the day... mid '80's while in college I did a lot of free-lance work at Alexander Films, and shot tons of motion graphics on the Oxberry and optical composites on the optical printer.

    Most fun I had during those years was doing live action and animated theatrical commercials for local radio stations and car dealers... nothing like seeing first generation prints off of 35mm negative of your own stuff before a movie, no matter what the content...
    Jim Arthurs


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