Sorry, but I need to rant!
I'm a first year film production student, in a recent project we've had to film a two minute, three person dialogue. We were randomly assigned a crew, I was director. After the sleepless nights of stressing over organizing, and having to get a third actor at the very last minute, the shoot went decently aside from the fact that my DP is from the Congo and barely speaks English, let alone knows what's potting.
So we have the movie on DV and I go into the edit suite today with the editor (who too doesn't really have any idea of what's going on)...Each editor is assigned 22 hours in the suite, so we have to follow a schedule. Imagine my shock when I get there, help him hook up the Panasonic DVCPRO decks and pop in the tape to discover that the DP shot the whole thing on LP, which can't be read by the deck!!!! :crybaby:
My AD asked him twice to check the white balance and also make sure he was shooting on SP.
So, because of such a stringent timetable there's no chance of a reshoot or rebooking the suite. This means I'm taking the tape home, capturing through my VX2100 (which will result in less quality than the SDI we get from the decks into the Black Magic capture cards) editing on my own, and slapping someone' else's name under the Editor credit.
:furious3:
Plus I still have to write an essay on Film Noir for Monday....*sigh*
I'm a first year film production student, in a recent project we've had to film a two minute, three person dialogue. We were randomly assigned a crew, I was director. After the sleepless nights of stressing over organizing, and having to get a third actor at the very last minute, the shoot went decently aside from the fact that my DP is from the Congo and barely speaks English, let alone knows what's potting.
So we have the movie on DV and I go into the edit suite today with the editor (who too doesn't really have any idea of what's going on)...Each editor is assigned 22 hours in the suite, so we have to follow a schedule. Imagine my shock when I get there, help him hook up the Panasonic DVCPRO decks and pop in the tape to discover that the DP shot the whole thing on LP, which can't be read by the deck!!!! :crybaby:
My AD asked him twice to check the white balance and also make sure he was shooting on SP.
So, because of such a stringent timetable there's no chance of a reshoot or rebooking the suite. This means I'm taking the tape home, capturing through my VX2100 (which will result in less quality than the SDI we get from the decks into the Black Magic capture cards) editing on my own, and slapping someone' else's name under the Editor credit.
:furious3:
Plus I still have to write an essay on Film Noir for Monday....*sigh*
