Film Is Dead: An Evening With Robert Rodriguez

clive said:
I've just realised that we've just spent the last few days agreeing with each other.
Click to expand...

That sums it up best. I do strongly agree that digital will surpass film & make film obsolete & it will be in our lifetime.

I just don't think it's ready for Indie use just yet as it's cost prohibitive (at least in the states) and film prices are dropping and it's more easily saleable for film originated material (for now).
 
Shaw said:
m2t is what's known as an MPEG transport stream. It's for all practical purposes an MPEG2 file as you can see by changing the name as you did. Really there isn't a need for any software which can handle m2t files.

I'm not sure what you're saying about the importing. Can you explain more? What is labeled tape device?

Basically, for a quick run down of how the system works:

1) Image is captured by the camera's CCD
2) This image is processed by on board components and changed from analogue -> digital (electric current -> 1s and 0s)
3) This newly processed footage is recorded to tape digitally (ie binary)

Since the signal recorded to tape is 1s and 0s there is no loss of quality when making a copy of the footage like you would get with an analogue tape. You can bring footage from the tape into your computer without loss as long as the tape itself holds up. In your case this is a full HDV signal. This is NOT DV. It is not recorded to the DV spec ; it's recorded as an m2t file. For this reason anything you bring in from firewire will be MPEG2 HD. If you want to downconvert this footage to SD you will need to do this in your NLE (that goes for the Sony as well). The camera _can_ downconvert this footage if you connect it straight to your TV though (because it has to be processed to an analogue signal it can be altered fairly easily on playback). This is only to keep the camera compatible with current SD TVs and is not recorded to any medium at this res. Now, the Sony CAN shoot standard def DV as well as HD but that is quite different from converting a HD signal to a SD form. The SD on the Sony is rather lame actually. I personally cannot see why anyone would use it but that's just me.
Click to expand...


Its because the people who are selling these cameras don't explain the fact that JVC doesnt have a driver for this camera for DV mode. Im not kidding. The only way you can transfer any footage from this to a computer firewire is by the mpeg2 mode and not dv. DV wont do anything. The tech guy even said hes upset that JVC didnt offer one.

I dont know if there was some kind of hardware confliction with the mpeg against the DV but alot of people dont understand that the HD is not DV data as you said and so they get pissed and return it because its not "Plug and Play" its a process.

first you have to install the 4 applications and reg it.

then You have to set it to this mode called SW on ilink (firewire) and then set the switch button from DV to MPEG2. then plug the firewire cable in. then windows (Assuming thats what you're using) will ask to search or do a self install. You chose the bottom box check (cant think of what it exactly says) and it wont find anything (even with your Driver CD) then you tell it that it is plugged in and you have to check on the list JVC and the only option is "Tape Device". this is what you chose as a driver. then you have to unplug the cable again.. reboot the computer when its on plug the ilink cable back in and it will find it.

Now I tried Pinnacle (As it said would work.. of course I dont have the new version) and it wouldnt detect it. neither did Vegas or Windows little movie maker. (Didnt think it would)

So you use the HD Capture tool you get with the camera and you have to export it to m2t then you change the name of the format to mpg and then vegas will bring it in. from there you can render it to avi in uncompress then import to say 3D Studio max and change the pixle size then do whatever effect you want then export it Uncompressed to avi and then post edit in Vegas.

:) long process but great looking video.
 
I just don't think it's ready for Indie use just yet as it's cost prohibitive (at least in the states) and film prices are dropping and it's more easily saleable for film originated material (for now).
Click to expand...

I agree that for most indie's HD looks cost prohibitive. I had a £400,000 budget for my first feature. At that level HD is a viable option. Even so, we took an incredible risk on what was a relatively untested format. I would be lying if I said that that hasn't caused technical problems in the process.

I think any filmmaker wanting to work on HD has to allow at least a £60,000 budget just for camera hire, tape and post production costs, before even looking at any other production costs. The real cost issues are all in post production, which is the reason that everyone is getting so excited about FCP HD. Personally, I'd need to see a project that had been cut on FCPHD in a cinema before I'd be able to see HD as ultra lo/no budget indie tool.
 
A while back, we had a member of the board, TizzyEntertainment, who was shooting an HD feature for $20,000. This is not the same "Redemption" as board member Redemption's "Redemption," but speaking of Redemption I believe he shot "Redemption" with a low budget.

(Man, all those Redemptions are Repetitive!)

I think shooting on HD is a possibility with a low budget, but as I said before it is a bigger risk than shooting on Super 16.

Poke
 
Last edited:
If I remember rightly Redemption's budget was about $185,000 - $250,000. (Correct me if I'm wrong, buddy)

I don't see how a HD feature can be achieved on $20,000, it costs that much to transfer the master tapes from HD to Digi-Beta for the edit. The $20,000 must have been a production phase budget; raising more money for the post production, either that or he cut the whole thing on FCP HD and never properly onlined. I'd be interested in knowing more.
 
Last edited:
Sean Reid's REDEMPTION was shot High Def and that's the neighborhood of the budget Clive. I have the DVD and the commentary talks about HD shooting. Now, case in point - Sean had one incredible DoP and that made all the difference in the world for the look of the movie. There was also one of the actors from FX's THE SHIELD, which on the business level makes the movie saleable.

Not every Indie can afford even $20,000 to shoot. At $20,000 you can skate by with a one lighted 16mm feature. No the most optimal thing, but possible because of lowered telecine prices and film costs - all fighting the high def, mini DV market.

I love being in the film world right now. Options and price wars.
 
Clive, you are SO right on... I have a CD and an LP of the same album. The sound that comes from that vinyl is absolutely wonderful. The bass is deep and hits a lot harder than the little plastic brother. The sound on the CD is good, mind you, but will never get to the level quality of the vinyl. The problem is, vinyl is big and takes up more shelf space. That's not good for retailers that try to maximize the amount of $$/sq. ft. Also, to create an LP is a lot more expensive as well.

I don't have a film camera (motion picture) but have DV...
I DO have a film camera (photographic) and digital camera as well.
Whenever I take the good quality shots, they are always on film.
 
You must log in or register to reply here.
Back
Top