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HD Budget Guide

HD Budget Guide

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Published by Keremcan Karabatak

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Published by: Keremcan Karabatak on Apr 29, 2009
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08/10/2014

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HIGH DEFINITION BUDGETSAND WORKING PRACTICES
by Director of Photography Michael Brennan,
A working paper
Version 6October 2002
HD production and post production is evolving rapidly. This guide is not exhaustive but simply my view based on my experience.The best solution for your production will have more to do with the experience and capabilities of your production team than technical considerations of the format.Working on film has evolved over 100 years. There are many good habits and a few archaic practices. Video has been around for 50 years and in Europe we have been shooting single camera dramas on video for 10 years.This document is based on my 20 years working on video,5 years on digital cameras and 18 months experience with the Sony f900 camera, shooting many projects, including two HD features.
lease any comments regarding this document or your own HD production experiences can be sent to mike@hd24.co
More details regarding High Definition can be found at my independent website
www.hd24.com
m
HIGH DEFINITION BUDGETS AND WORKING PRACTICES
by Michael Brennan, Director of Photography Oct 2002 
This document must not be reproduced without permission .www.hd24.com mike@hd24.com copyright Michael Brennan 
 
An outline of HD costs
Costs you avoid when shooting HD
F
ilm stock.
F
ilm processing.
T
ransportation costs of film stock to lab, lab to telecine and telecine to studio.
T
elecine transfer.
D
ailies viewing equipment and personnel.
P
rovision of time for the DP and director to watch dailies.
C
osts of special handling to avoid airport xrays of raw stock and unprocessed footage.
H
igher neg insurance premiums.
N
eg cleaning.
H
igher shipping charges of heavy film rushes.
Specific costs you avoid when editing HD
C
ost of synching rushes.
 D
elays to production in waiting for rushes to be synced in the offline.
C
ost of telecine of finished film to video .
C
ost of telecine for digital intermediate.
C
ost of internegs for special effects work.
Additional Savings when shooting at 25p instead of 24p
F
or European productions use of readily available offline suites.
S
peedier online as some standard def equipment can be used.
O
verall greater confidence because you are working with a commonly used frame rate andtimecode. In short, fewer mistakes than working on 24p. Basically TV rates rather than featurerates.
L
arger range of cameras and vtrs that are 25p only capable.
So when making a comparison between 35mm & HD eliminate these costs from your budget
m
HIGH DEFINITION BUDGETS AND WORKING PRACTICES
by Michael Brennan, Director of Photography Oct 2002 
This document must not be reproduced without permission .www.hd24.com mike@hd24.com copyright Michael Brennan 
 
shooting 
with HD
S
ets can be struck immediately after a successful take. No waiting for the neg processing
N
o significant stock cost implications of rolling camera for additional takes or versions.
F
ine tuning of lighting is faster if both gaffer and DP can see a reliable HD monitor.
L
arge HD monitor in the studio can be used by design team to test colour themes, paints andfabrics. This is done “live” where different lighting setups and filters can be explored quicklyand decisively.
T
ime saved when camera is kept rolling for a retake. Also, the 50 minute tapes reduce thedowntime cused by frequent reloading. Don’t shout “cut” shout reset!
I
n-sync rushes immediately available for replay, down conversion or distribution.
I
mmediate offline editing at studio or on location is possible.
L
ive, reliable compositing available.
P
layback tracks can be recorded on channel 3 or 4 and so synchronised with rushes
F
easible to use cabled audio to camera and so avoid use of clapper (except for steadycam).The clapper is replaced by continuity person taking notes of timecode via radio link.
T
imecode lists of scenes reliably and quickly identify takes in the offline or for when the directorviews vhs rushes. The timecode stays with the original picture forever.
F
or low budget or second unit work two people can carry a lightweight tripod, camera, twozooms and a days supply of batteries and tapes. For second unit work, variations of a shotcan be recorded without much, if any, cost penallty. This offers the editor greater choice.
T
he camera can change between pre programed “looks” within a minute (similar to changingfilm stock).
A
specific colour in a scene can be selected and altered in hue or saturation without affectingany other colour. This frees the DP and director to create an atmosphere without having tovisualise a post production colour grade.
S
ame depth of field as 35mm requires much less light. High depth of field under low lightmakes using ambient light a possibility (but not necessarily always desirable!).
V
irtually fool proof recording. Video recording is very reliable and stable. The recording onmetal tape is very robust and withstands xrays metal detectors and extremes oftemperatures. A digital master ready for transfer to 35mm film DVD or any TV standard.
m
HIGH DEFINITION BUDGETS AND WORKING PRACTICES
by Michael Brennan, Director of Photography Oct 2002 
This document must not be reproduced without permission .www.hd24.com mike@hd24.com copyright Michael Brennan 

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