This IS the Avid L2: Re: [Avid-L2] 4k to simulate 2 cam int

Tuesday, April 12, 2016

Re: [Avid-L2] 4k to simulate 2 cam int

I don't want to dispute anyone's personal experience, but in the doc we just did, again, we shot 5K Epic, mastering to 2K. We ARE using it as a "second camera", and in our conform we are finding that 200% punch-ins, effectively giving us close-ups, are pristine, beautiful, and undistinguishable in resolution compared to the wides.

I concede and stipulate all technical realities, optics, pixels, etc., but the eye don't lie.

David Dodson

davaldod@gmail.com

On Apr 12, 2016, at 3:06 PM, Brian Williams bwilliams@d2creative.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

I'm so happy to hear someone express this. Some clients don't get it; it's not a 'free" second camera. Yeah, it helps to re-frame a little on each CU
Thx,
Brian Williams
D2 Creative

From: <Avid-L2@yahoogroups.com> on behalf of "Greg Huson Greg@SecretHQ.com [Avid-L2]" <Avid-L2@yahoogroups.com>
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