Clarity on HV20

This is a great video about deinterlacing the HV20 using Final Cut Pro 6 and compressor, and creating a droplet to automate the process.

http://thatsawesome.tv/PF24.mov

Found it through DVinfo.net.

Found a lot of links on hv20.com, alas, all the info is confusing as they are workarounds are geared to NOT using Final Cut Pro 6. I attempted one "workaround," but it's a load of malarkey. I am fascinated I can capture using a certain SDK. Alas, it has no timecode RECAPTURE that FCP 6 allows; and you don't have any reverse telecine options... so you wind up adding steps rather than simplifying.

Again, if you can't scare up FCP6, I suppose it's okay. But it's a dangerous path because there's little things that will get you in the end.

Thank you, generous book donator

This post recognizes those kind souls that donate used books to my favorite bookstore.

Yesterday I scored some AMAZING books ($ I paid/ Retail cost). Independent Movie Marketing Book ($1.25/$39); Art of Funding your Film ($1/$28); Film & Video Budgets Vol3 ($1/$25); and more... Because of your generosity, Orlandont has a tremendous reference library. Most importantly, we did the budget today utilizing the 4th ed. templates from MWP.com

Now that I've blabbed about it, vultures will descend and it'll be slim pickens. Still, thanks.
Your donation is treasured.
- Orlandont

Budget!

Jan 25 2008: I did a budget. Why bother when you have zero budget?
To know where the meager resources could potentially be wasted. That's why.

So you set up the money for meals- because that's a given.
Set up money for DVDs, so actors can get dubs of their scenes.

Then you have craft services, clearances, and legalities. The random expenses form a pattern. You can ignore the pattern and spend yourself over your zero budget. Or you can reign in the line items and let it be as it is.

So at this start, I budgeted the picture for production out of pocket.
The deferred salaries will manify it by 20. To have it produced is the deal.
Movies are a horrible investment, but if you love it, well, gotta pay to play.

War of Attrition, Ass

Orlandont thought...
We've seen a lot of good ideas die due to inattention of participants. Folks say "Yeah, I'll do this and that" and nothing gets done. And it's a shame that lack of cooperation kills the impetus (momentum is b.s. unless you plan on failing up).

Then again... patience saves the day.

It's a war of attrition. Last person standing wins.
Hopefully the idea is worth the sacrifice. But if you concede defeat at the first knock, you weren't worth the idea.

Do or Dont,
Orlandont.

HV20, GreenScreen, and 24P

Folks don't get the obsession over 24P.
Here's why: visual effects.
60i video has 30 frames per second. 24P has 24.
Six more frames per second to render out.

It's easy to reverse telecine to go from 60i to 24P with the HV20 (don't buy the hype of 24frame. It'll do, but true 24P is best).
It's a clustermuck to try to take 60i to 24P from any other camera (one that doesn't have a 24P mode, mind you.) Takes a lot of renders, and you're dropping 6 frames per second, and it's just a mess and looks super choppy. Don't bother.

NOW:I can always telecine the 24P after applying effects and color correction to get it to 60i.
DVD players automatically play back 24P files to 60i for 1080i TV sets.

But back to the 24P. After Effects renders frames. THe less frames, the faster you go.
I like less frames.
Shoot with HV20. Strip

HV20 in FCP6

Newsflash* You can edit HDV in Final Cut Pro 6 from the Canon HV20 camera. It comes in at 60i, though it records 24P.

If you DON'T make it 24P footage, you edit. Then you can output BACK to the HV20 ONLY BY USING PRINT TO VIDEO, and record the HDV stream as HDV.
Granted, you have to render the full sequence (called "conforming," but it's a render). Don't know the extent of the degradation.

All the same, you record back to your camera after a 10:1 to 7:1 conforming ratio. (Meaning 10 minutes of render time for 1 minute of CUTS ONLY video. Fade outs and stuff jack up the time).

So I got to thinking... what about ProRes? Well, can't do it on Print to Video.
ProRes is the near lossless codec for doing visual effects work with the HDV, and the best means of converting for true 24P after reverse telecine.

So... that's a pickle. Edit cuts only on HDV and bump out to tape, which is great for archiving frankly, and reviewing thanks to the HDMI via the camera. Wowsie!
OR_ Run through the renders with ProRes and then begin cutting, but have to render DVDs for reviewing edits. No HDMI. Boo hoo.
I'll suffer through HDV for the initial installments of CUTS ONLY. Alas, color correction, effects, transitions and all that jazz? Go to Pro Res FIRST.

Video Copilot.net Basic Training, Day 2

Very comprehensive and easy to work with.
Thanks, Videocopilot!
They should be coming out with a DVD of ALL the tutorials online.
I'll be purchasing that.

Online Education: VideoCoPilot.net

Monday, Jan 21, 2008
Our first day of class at VideoCoPilot.net

Though there are crazy tutorials, we're starting at the New Basic Training for After Effects.
It's free.
We're going to spend an hour each evening, 9-10PM.
Our skills are rusty, and we want to do the really cool tutorials. Begin at the bottom, believe in the top.

Class is in session

August 8 2008 Private Screening (8.8.8)

Jan 20 2008: FOR IMMEDIATE RELEASE

Mark your calendars. On August 8, 2008, a mere 7 months from now, Anthony Torres Presents a private screening of ASSWAR, a feature length comedy for adults only.

The first table read occurred on Jan 19 2008 (Thanks, Larry!) Movie is written/directed/edited by Anthony Torres. It has no structure, very few coherent scenes, yet, Asswar holds much promise. Torres is putting more on the front end so as to not get kicked in the backend.

Join the Fun Club now to be in the loop.
Send email full name, address, and t-shirt size to: funclub at orlandont.com