It was "Taking
your DV Movie to Film Night" and we showed you a comparison
Film Out between the Panasonic DVX-100 and Sony PD-150 Camcorders,
Rules for taking your DV Movie to Film, the premiere of Final
Cut Express, Show and tells, and of course World Famous Raffle.
As usual first off was another round
of Stump the Gurus and this month no one stumped Ken Stone, Andrew Balis or Steve Martin of Ripple Training. Some
of the questions asked and answered were:
Q.) Everytime I go to export to QuickTime
the defaults are always what I dont want. Is there away to correct
these defaults to something I do want?
A.) Well unless you want to go to a different codec you should
always export as a FCP Movie cause by default it will keep original
settings and no compression will be done.
Q.) Can I use the VO Tool for ADR and
if so how can I replace the old audio with new ?
A.)Well yes, but it isn't the best way to achieve professional
results. To replace audio simply delete old track drop in new,
lasso audio and video and hit Command+L to link. Drag back to
browser so you have a nice new clip.
Q.) How do I get rid and find all of
my un used media.
A.)Thats 2 steps Really. Select your sequence icon in browser.
Go to Edit menu and select FIND then select UNUSED Media in window.
Highlight all the found unused clips and hit Shift+D to make
them offline. In next window select move them to trash. For trimming
media open up the Media Manager and choose USE EXISTING and check
Delete unused media and check USE HANDLES.
Q.) I want to be able to put my audio
transitions on either left, right, or center just like Video.
How can I do that?
A.) Easy. Don't do it from the Effects menu. Drag it from the
browser and drop where you want.
Macworld Apple announced Final
Cut Express which has now been dubbed as FCP's little brother.
lafcpug thought it might be a good idea to show everyone exactly
what it is and exactly how it differs from it's bigger brother
FCP. So we brought in Steve
Martinto tell and show us.
Steve immediately opened up FCE to show
us the interface and at first glance it is no different than
FCP. Well heck, you say; I paid $700.00 more for FCP and FCE
looks identical? Well no. Once you get under the hood, you find
there are significant differences.
First off the app opens to a default of TWO video tracks and
FOUR audio tracks. OK. Audio Video settings are missing, replaced
by ONLY easy set ups. Here's a list of differences.
Some key differences between FCP and
1. Final Cut Express is DV only (NTSC and PAL frame rates only,
no 24fps support).
2. Final Cut Pro supports 3rd party capture cards.
3. Final Cut Pro supports timecode, Final Cut Express does not
present timecode information to the user.
4. Final Cut Pro allows you to LOG and capture.
5. Final Cut Pro includes support for RS-422 control.
6. Pro users can use Offline RT, Express can not.
7. Pro includes three-way color correction and other advanced
tools that Express does not.
8. The keyframing model is substantially different in Express.
Only Motion tab items can be keyframed. Filters cannot.
9. Final Cut Pro has a Media Manager, Express does not.
10. Final Cut Pro supports EDL I/O.
11. Final Cut Pro can be extended with Cinema Tools.
12. Final Cut Pro includes Audio OMF export.
13. Pro supports Edit To Tape and Insert editing.
14. Pro can do a Batch Export.
15. FXScript is not in Express.
16. AE plug-ins are not in Express.
17. Undo: FCP = 99, FCE = 32.
Steve pretty much went through all these
changes and one could see his mind working for a work around.
So far only work around to the parts that are missing is to get
It's lafcpugs position that FCE is a
welcome addition to the NLE family and FCE has a place in this
wide open market. That said, we hold to the position that we
will remain the LA FC-PRO user group and believe FCE users will
gain much from demos and tips using the FCPro interface.
WE did a VERY unscientific poll where
we asked the capacity crowd whether they would buy FCE or had
bought FCE. No one raised their hands.
first Show and Tell of the night was a dandy but unfortunately
was plagued throughout by sound problems emanating from the deck
or mixer we were using which was a real shame because this was
a good one folks.
Director and Motion Graphics artist Lance
Laspina showed us clips from his upcoming documentary on legendary
Sci Fi fantasy artist, Frank Frazetta.The clips demonstrated
how Frazetta has tremendously influenced the lives of those in
the worlds of film and art like no one else before him. And he
has managed to do this while having almost died due to an undiagnosed
thyroid condition, and having suffered 6 strokes which has forced
him to switch drawing hands from his right to his left.
Visual effects, (mostly After Effects)
combined with an original score make this documentary's style
unique. Bo Derek, Ralph Bakshi, John Milius, Glenn Danzig, and
Forrest Ackerman are just a few of the people who appear in this
For more info go to Lance's web site: www.cinemachine.net
and especially go to Frank's official website: www.frankfrazetta.com
Panasonic DVX100 24P camcorder is a hit. A flat out hit. It has
probably gotten more hype, more press, more buzz then any single
camera since the first 3 chip DV Camcorder from Sony several
Filmmaker Noah Kadner decided to see
how this camera's image transferred to film compared to the Sony
PD150. So one day armed with both cameras and a crew of five
and two actors, Noah ventured out into Hollywood and took over
the Knitting factory, and with the expertise of DP David Mullen,
set up a couple Kino-flos and mounted the 2 cameras side by side
and shot the two actors siting at a table.
The DVX was shot in Advanced mode and
used dvfilm's dvfilmmaker
to do the 3:2 pulldown for editing. The PD 150 was straight 60i.
The footage was sent to dvfilm
in Austin Texas for transfer and the results were shown on the
big screen for the world to see. You can read all about this
shoot here at lafcpug review_dvx_pd150.html
One can't really describe in words this
type of demo as it's all visual and if there is any reason to
buy this months DVD, this is it. For what it's worth, we polled
the audience and they overwhelmingly picked the DVX100 image
as the most "film like."
it is "Taking your DV Movie to Film" night and
so we brought in filmmaker Mark
Shepherd, owner of LA's Digital Film Technologies
who showed us clips of various Mini DV Camcorder footage transferred
to various film stocks, plus showed us a bit of HD, Beta, Digi-Beta
and even VHS transferred to film. But it was his "rules
for shooting Mini DV if you KNOW you are going to film"
that had everyone's ears tuned in. And there are many rules.
First off, Digital Film Technologies
has a proprietary system and primarily uses Kodak Vision camera
Negative film stock which gives the film grain and texture. In
certain film blow ups they use high speed negative that is rated
at 500 ASA.
Rules: Choice of Camera
-Use the highest resolution, least compressed camera shooting
format. In this order that would be:
-D9 Digital S
Shoot in 16:9 wide screen 1:77 and in
order of preference:
-Use a native 16:9 camera
-Use an anamorphic lens such as Optex or Century Precision Optics
-Shoot in the camera anamorphic mode.
If you shoot in 4:3 and blow up to 35mm
you will lose about 25% of picture, and will likely cut off heads.
Hire a DP who does not hate Video. BIG
-Do not overexpose
-Use lights and grip light control equipment to subtract light
from bright areas of scenes such as windows.
-Avoid shooting back lit scenes in front of bright windows.
-Turn OFF camera auto iris
-Use the camera zebras and calibrated monitor to determine exposure.
-Do NOT crush the blacks
-Turn off the Auto Gain
-Shoot with little or no gain if possible
-Turn down edge enhancement (Nothing says "video" like
-Do not use too much filtration in front of lens. (at most a
1/4 pro mist)
-Avoid fast or whip pans
-Pan slowly and pan following an object or person.
is critical (get a high resolution monitor and use it.)
The tighter the shot the more resolution
Wide Angle establishing shots dont appear that great on the screen.
Don't use wide angle lenses all the time
Back off the subject and use longer focal lengths (subject will
be in focus and separated from background.
Hire a GOOD sound person (Get the BEST production sound possible
and use good balanced mics, both shotguns and wireless lavs.
Get the BEST audio Mix possible.
Do make a DAT or DA88 with TimeCode that has 2 pops and is in
sync with picture to be used in making a Dolby SR optical Track
Do ALL your color correction in the digital
realm. Dont rely on the film lab to do scene by scene color correction.
All they can do is light intensity and simple RGB. Your objective
is to get a "one light" answer print from the lab,
which saves you thousands of dollars.
DO use software that can help remove "jaggies" or other
artifacts. Do NOT use film look software.
Mark then showed us various video stock
blown up to film but unfortunately we cant show this footage
on this months DVD as we could not get the rights.
What was the most surprising was the
footage from a DSR-500. It was the audience favorite beating
out the High Def image.
So how much does all of this cost? Well
it depends a lot on the lab you go to and what system they are
using. But it's a lot.
up was a very fine show and tell from filmmaker J.P. Husky
with local hip hop artist, In-Q as the star. The "Who
I Am" video is the first single off the album Memoirs of
an Insomniac, an independent release by local hip hop artist
In-Q. The video, shot with a TRV-900 and a PD-150, was cut entirely
on Final Cut Pro and can be viewed online at www.in-q.com
In-Q performs frequently around Los Angeles and his calendar
of events can also be viewed on the website. For further information
regarding the album or the video, please contact J.P. at email@example.com.
World famous Raffle rounded out the evening and we thank those who
so generously donated the following items.
2 FCP Keyboard Keycharts
2 Free VIP Passes
to Creative Cow Conference - Creative
2 Royalty Free Stock Footage
CDs - ThinkStock
1 copy of DVFilmmaker
Free FCP 101 class - Digital
5 $20.00 Gift Certificates - Poquito Mas Restaurants (Hey, we gotta eat)
DV Companion for FCP 3 - Intelligent
for Final Cut Pro - Intelligent
DVD Companion Pro Pack -
Various books - CMP
Final Draft - Final
1 T-shirt - kenstone.net
2 copies of lafcpug DVDs - lafcpug
Special thanks must go to Chris
Rogers, for taking tickets. Ken stone for taking pics. Dan Brockett for taping the show, and of course Promax for footing the bill.