FSTS Logo

 

For more podcasts and vCasts, visit From Script to Sundance. Independent filmmakers will also find valuable tools, links, DIY instructions, contact lists, DVDs and information on festivals such as Sundance, Tribeca and SXSW.

Don't forget to pick up a free film maker tool at from Script to Sundance. Check back often for the latest filmmaker freebies.

hd4indies


PODCAST
" The Inside Scoop: Part Two ”
Cyndi Greening interview with Mike Curtis

By Cyndi Greening. Phoenix, Arizona USA (Cinema Minima: 29 August 2005) -- In Part Two of this podcast, HD and Post Production Expert MIKE CURTIS of HD for Indies discusses a number of topics of great interest to the independent filmmaker. (You might want to begin with Part One first; follow this direct link or see the entry below.) In this section, Mike talks about compression, digital projection, Macintosh developments, color correction issues with greenscreen projects, real time color correction with Final Touch HD and lots of tips for improving Indie quality ...


  • Post Production Color Correction Partnership using Final Touch HD

  • Understanding DV/HDV Compression

    • Uncompressed image data possible is 240 MB/sec

    • HDCAM tape formats compress data to about 20 MB/sec

    • HDV camera data is compressed to 3MB/sec

  • Can't color correct what was never captured and/or saved

  • Understanding compression nomenclature
    (e.g. 4:4:4 vs. 4:1:0)

    • Brightness and Color, Chrominance and Luminance, YUV, RGB

      (for each four consecutive pixels, the compression algorithm uses
      the first value to determine how many pixels to capture the brightness
      value and the next two values for how many pixels of color)

    • HCAM SR can optionally capture 4:4:4 RGB as well as 4:2:2 YUV

    • DigiBeta and DVCProHD captures 4:2:2

    • DV captures 4:1:1

    • DVD and HDV captures 4:2:0 (which isn't really 0, it's an every other
      interlaced line)

  • Impact of compression on GreenScreen projects

  • Panasonic SDX900 sometimes called the "Poor Man's DigiBeta"
    (or any DVCPro50 camera)

  • An article from the American
    Society of Cinematographers article on Capturing Colorspace


    (a reference source from Mike)

  • Digital Cinema Initiative (studio) consortium agreements
    on digital projection and distribution

    • Projection Options:

    • 2K size 2048x1080; 4K size 4096x2160;

    • CIEXYZ; frame rate; 12bit per channel format

    • Security issues to avoid copying

    • as for DCI specification, the DCDM (Digital Content Distribution Master ) is nothing for an indie producer to have to worry about producing themselves for about a decade

    • Article in the NYTimes that film prints are about $1000; virtual print fees expected to be around $2K - but what are shipping costs? $100-300? The math still doesn't seem to add up

  • Digital projectors not an advantage for theater owners under current leasing
    plan

  • Danger of dark screens because of technical problems and/or security issues

  • Macintosh conversion to Intel Processors; possibly PCX,
    quad processors

  • How he came to work in HD

  • Future SXSW Panel Discussion; HD/DV Camera Shoot Out

  • Direct to Disk Recording to Gain Resolution and 10Bit per
    Channel color

  • AfterEffects vs. Shake vs. Real Time Color Correction with Final Touch HD

  • Stay tuned! Read the HD
    for Indies FAQ
    for more information!

©2007 Greening Productions / Angel&Wings Productions • All Rights Reserved