New York City DVXUSER Crew Presents: Katrina

Christopher Barry said:
Timur, would you kindly expand on this please?

Also, you stopped down f-stop on your Nikon or used ND's in front of the Nikon fully open?

Thanks.
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Stopped down the lenses. to F2.8 from F1.2
 
Elton said:
Glad I D'Ld in time! Seriously, I thought you'd burn up your bandwidth pretty quickly. It's a hot item.

One little technical question--There is a little bit of a choppy cadence in the majority of shots. It seems like it was incorrectly chopped out of 60p with the wrong frames. (repeat frames rather than the correct extraction of 24 fps) It isn't terribly distracting, but there are times when the motion doesn't look exactly right. Is this correctable?

Great job guys.
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Thats most likely Quicktime sucking as usual. it looks perfect straight from the Raw file.
 
Elton said:
Glad I D'Ld in time! Seriously, I thought you'd burn up your bandwidth pretty quickly. It's a hot item.

One little technical question--There is a little bit of a choppy cadence in the majority of shots. It seems like it was incorrectly chopped out of 60p with the wrong frames. (repeat frames rather than the correct extraction of 24 fps) It isn't terribly distracting, but there are times when the motion doesn't look exactly right. Is this correctable?

Great job guys.
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could be my bad encoding. I noticed it a little too.
 
jeremytuttle said:
Mark, I think the pacing is good the way it is, and will be really good when transitioned this into a feature. The tension in the gun battle works because it is drawn out (in this case a good thing), but saying that I wonder if there is not enough time in between the cowboy's 1 and 2 and too much time between 2 and 3... I'm talking hairs of a second. Other then that I think it's pretty dang good. Any way, my two cents... but what do I know I make Saturday Dutch Specials.
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Man, am I ever sorry I said that dutch thing!!!! I hope you aren't offended. I was just a way to say the voices sounded disembodied from the action. Not that there's anything wrong with Dutch TV specials. Herman's going to kick my ass any minute...

Anyway, yeah, between two and three, i was trying to elongate that moment, slow it down in time and stretch it out. But in the next cut I am taking out the counting altogether. the moment works the same, but the counting does smell a little too much of: "Oh no, time's running out! You know that because I'm COUNTING." If it feels a little long, it just means I blew it. Will take another look.

i will post another cut in the User Films section when Herman has some time to adjust the music and I play with a little with it. Be interesting to see what - if anything - people notice, what works better, etc.

Oh yeah, I just watched the movie on Timur's BIG-ASSED TV. Man, Lindsey's back is sexy...
 
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TimurCivan said:
Thats most likely Quicktime sucking as usual. it looks perfect straight from the Raw file.
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I thought I'd read that you guys were capturing 24 over 60p with a laptop? It could be that the frame rate conversion wasn't quite correct. Playback is totally smooth on my computer, it's definitely not QT. There are some scenes where the cadence is correct, but others that aren't.

Seriously, I'm the only one that noticed it so I'm sure it's not really a problem at all.

Let us know how it looked at the theatre screening later on. :)
 
Elton said:
I thought I'd read that you guys were capturing 24 over 60p with a laptop? It could be that the frame rate conversion wasn't quite correct. Playback is totally smooth on my computer, it's definitely not QT. There are some scenes where the cadence is correct, but others that aren't.

Seriously, I'm the only one that noticed it so I'm sure it's not really a problem at all.

Let us know how it looked at the theatre screening later on. :)
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I will look at it. I have no doubt it has something - not to do with QT - but with some kinds of settings I used in the QT encoding.

Which scenes look wonky to you?

Man, what looks great on that BIG-ASSED TV is the nighttime outdoor stuff. You get a lot of detail there that you miss when viewing small.
 
Nono the 24p over 60 is how you record 24p in a 60P stream, in a 2:3 cadence like 60i and 24P. its not 60P with 24 frames picked out. thats how SONY Cineframe works. and why its horrible.......
 
TimurCivan said:
Stopped down the lenses. to F2.8 from F1.2
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Timur, you're the one with the camera/lens background, and I'm still a noob at this stuff ... you previously said you stopped the lenses down about 3 stops, but I would only guess the above as one stop ... or am I mistaken?

Also, I know Mark was joking about never using more than 1K in lights, but what would you say you used on average? I'm especially curious to know what you used in that 'under the bridge/overpass scene', as the lighting was just incredible.

I'll have to check your first, page, but I'm DYING to know your camera settings, etc. ... and may seriously have to consider getting onto the SGPro bandwagon. Then again, the M2 is supposed to be pretty great as well, and Ryan thinks it was the Cannon lenses that were the issue in ours ... so he's switching to all Nikon lenses.
 
in that under the bridge scene, we had on 2K light from the back. If you look close at the wide shot, you can see a Jeep down there with a reflector on the windshield blocking the actual light from the shot. that 2K is lighting up the brick wall.

Then we had I believe one of the 650s and a 300, with a reflector.

We had a 3500W generator out there to power them. And that stuff was all shot stock lense. We needed all the stops we could get. Ideally and in the future, I will get a 5K out there to actually light up the bridge, giving it more definition. And prob 2 2Ks and Steve's Arri kit with the 650s and 300s if we want to go with the adaptor.

I'm not joking Norm - LOTS OF LIGHT gets you a real nice, rich, clean image with that SGPro. that thing performs like a MO-FO, but we used lots of light. On BLOODY MARY we learned, and to his credit, Timur jumped right on that thing and tested and tested and took what we learned from BM and made those images happen. Timur just about would not go into production until he was able to guarantee the performance of the adaptor. Damn, I really do need to lock that kid in a cage. And his mom and dad too. They make some yummy chow.

the hotel room window had a 1K and a 300 blasting through to give that neon sign look. They melted the blinds on that window. Plus 650s overhead and a chinaball everywhere, and Aram with another 250 prolight just out of frame putting some added red on the actors.
 
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that whole scene is ADR and Joe Johnson built up the entire soundscape of that scene from scratch. You just have to suck it up and do that with the genny at our level of production.
 
Envision said:
you previously said you stopped the lenses down about 3 stops, but I would only guess the above as one stop ... or am I mistaken?
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1.2 to 1.4 = 1/2 stop
1.4 to 2.0 = 1 stop
2.0 to 2.8 = 1 stop

So going from 1.2 to 2.8 = 2.5 stops.
 
TimurCivan said:
Nono the 24p over 60 is how you record 24p in a 60P stream, in a 2:3 cadence like 60i and 24P. its not 60P with 24 frames picked out. thats how SONY Cineframe works. and why its horrible.......
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Dude, I understand that. I thought you guys recorded it basically VariCam style where you would need to capture as 24p from the 24 over 60 recordings. (I know, the same as pulldown)

Did you guys use P2?

To answer your question Mark, it seemed like the majority of scenes had that funky cadence, but I did notice some were fine like the bridge/alley scene.

Sorry to point out an extremely minor thing, because the production was basically flawless in most respects...I just wondered what may have caused it. You did edit on a 24p timeline, correct? Did anything look slightly off at that stage or was it simply after the encoding?
 
Mark Harris said:
In the last shot, it was just a bad cut on my part. She is supposed to go black long before that.
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Figured. I'm not sure why I even mentioned that since this is a fest cut. I'm sure it will be tweaked out for further exposition. Duh, stupid I.

I got some CC to do throughout that scene to even things out. I would like it all to be more warm and darker like in the beginning of the scene.
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Same deal, not a finished cut. Sorry for bustin' j00 baws on that.

I am looking for some things. Since you and Erik below posted, I have been asking a lot of people this, and so far the majority do not thing it drags.
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It might just be Erik and I, you know? I'm thinking that it's long because it feels like that door needs to be kicked down sooner. That really might just be me. I wouldn't say that it's got something to do with the script, but maybe you'll find room to chop it? If not, it's still good regardless.

I want a scene there like that that sort of kicks the movie off with more of a bang than the diner scene does(which WAS the first scene). And there will be visuals there, I just did not have time to get them done. It will be something of a title sequence that actually adds to the story there, over the radio broadcast. In my feature version, the bank robbery is an actual scene.
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That's what I imagined during the intro. A sort of Channel 5 news cam with all the crazy zooms and focus problems, with Jack running out of the bank slinging bullets at feds.

I would like to see you add that instead of the scene you PM'd me about.
 
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