Our Feature in DLP THeaters DEC 8th..check trailer here..

Great news ... I have earlier looked at the Cop video. Now a real movie in Theatre! Congrats!
Looks like self distribution to DLP Thr. If you guys get time, then please share some of your experiences in here.
 
Shot on two Vericams, which made shooting go a bit faster as you can shoot medium and tight simultaneously. No 35 lens adapter. Entire film was lit with a small tungsten lighting package.
It was posted on a Cineform 720p system.
After Effects for a couple of minor VFX shots.
 
Hey hair, thanks for the info. Very impressive. Image looked clean and crisp, no noise in the image, and nice shallow DOF also.

I am just starting out with CineForm ProspectHD and PP2. Did you use a Xena card for editing/monitoring and mastering?

What are you using to playback to the DLP on screening night (HDCAM)?

May I ask, what software you used to encode that high quality H.264 file? The quality and file size is amazing.

I wish it was being played here in Australia, it would be great to see the projection. Have a great screening night guys... :thumbsup:
 
We will be using the DLP projectors in standard theaters with the standard file formats big budget films use..it's been a learning curve!

can't wait..looks like we will have over 1200 people on opening night here in WIlmington NC! RedCarpet and all...should be funnnn!!!!

BTW VariCam looks good on DLP...fyi for anyone that questions!!
 
$39 quicktime pro
yes Xena with a DLP projector overhead and an HDLink box to take HD-SDI to DVI for color work
 
gotta freaking love the res of HD, I can only think what our RED camera will produce!!
 
$39 QT Pro, rendered from the PP2 timeline, very nice output obin, and efficient.

Interesting using the BM HDLink to the DLP for color work, or was it HD-SDI or Component HD to the DLP and HD-SDI to HDLink for DVI with something like a Dell 24" 2405 or an Apple 23" Cinema display monitor for color work?

Yes, a RED in your hands is going to be insanely good. Great DP work obin, and great post.

Hopefully no more questions for ya obin, after this one...:D
 
I dunno much about the Varicam but the image looks great. Content is neat, it'd be interesting to see what the entire cut is about.
 
it's a family comedy/drama/dance film. I did not DIrect. I shot and cut it and we did the color time via premiere pro(looser) tools..I hate them but they are fast and easy. if I could get color finesse to work I would use that!

Anyway yes HDSDI to BM HDLink out to ACER 1000:1 contrast LCD, looks friggen great, and it's cheap
for color work, then analog HD RGB to DLP projector in the edit bay for "Big screen" look+feel! gotta tell ya DLP in "real" theaters looks just about the same as home use DLP!! now how COOL is htat?!?!
 
thanks for the kind words guys, they are bashing me over at dvinfo, as if I was the one that made the film. chose the story and hired the actors!! arggg...

it's like, HELLO it says "A Peter S. Vinal Film" not "A Olson Brothers Film"

LOL
 
obin, has Prem Pro 2 provided for Color Finesse plug-in (not stand alone) to be full 32-bit processing? David Newman pointed out to me that Prem Pro 1.x plug-in was restricted to 8-bit I/O.

An RT 3-way CC under PP2/CineForm PHD would be nice. Is that what you want or another particular RT CC tool in PP2?

I like how your footage, even though H.264 compressed, does not show any issues of noise or crawling in the dark areas of various setups, like in the dark background areas of the dance stage. I am still experimenting with the HVX, trying to get a good setup for night and low light setups. I am finding it hard to find a balance between noise and detail. I must keep experimenting. The Varicam does resolve a nice image. What glass did you use?

I see you DP only, hehehe. :D
 
The Varicam does NOT resolve nice noise free footage, actually the original low
light footage has a terrible amount of blue video noise in the darks.
Especially since a lot of the EXT CITY NIGHT shots were shot with NATURAL lighting.
But of course the noise is not a problem and completely removable, on either the HVX or the Varicam with color timing...
 
The Varicam is reported to also have noise issues with certain footage, though you should get a better image from the Varicam with the 2/3" chip and high quality lenses, compared to the HVX.

Did you do your color timing/noise reduction within Prem Pro 2 or take it into something like AE or Digital Fusion and clean it up there?
 
For this film we ended up using prem2. We usually color time our commercials in Fusion. But the workflow is so slow it really did not make sense for the whole film to be color timed that way. So we had to use the shitty prem2 tools. :(

The HVX footage looks about the same as the Varicam. Maybe a little more noise...
And of course a totally flat image from the 1/3" imager, unless you use the 35 adaptors...
 
You must log in or register to reply here.
Back
Top