Reply-To: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>, Greg Huson <Greg@SecretHQ.com>
Date: Friday, April 8, 2016 at 12:53 PM
To: "Avid-L2@yahoogroups.com" <Avid-L2@yahoogroups.com>, Lou Wirth <loutv@mindspring.com>
Subject: Re: [Avid-L2] 4k to simulate 2 cam int
We use this technique sometimes, but it's not quite the same as two-camera. The cut-in still looks like a jump, because the lensing and angle are identical. You don't get that almost sub-conscious change of perspective that comes from the longer lens on the close-up, plus the slight change of angle.
If you're not inter-cutting, then, great, but I still prefer the longer lens in the CU. actually, we've taken to shooting 4K on the wide shot and then get 3 sizes!, or at least some reframing. Also, we use it for hand-held hosted interviews/conversations- we'll shoot the interviewer on an over-the-shoulder-ish 4K 2-shot and the interviewee on a single or slightly dirty single. Then punch in on the host as needed- just don't cut from the 2x to the host cu.
Our workflow technique is typically backup camera original to spinning media and LTO, then HD dailies (dnx36) from Resolve with viscode on the edge of the frame- including the file names from the camera which include the original frame size. That way, you know how much you can reframe the shot.
During grade, match back to camera original, and the resize comes through aaf (or xml.)
We tried making close and wide dailies from the same camera master but found that the 'guesstimated' reframe was never quite right- more distracting than the blow-up in offline approval. Not worth assistant time to make double dailies.
YMMV.
GH
Posted by: Brian Williams <BWilliams@d2creative.com>
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