Cinema Project querry : C300 at DVinfo.net

Roger Pinto · June 7th, 2013, 01:14 AM

I am having an offer to shoot a Feature for a producer & have certain C300 specific questions : (Pardon my ignorance on subject where ever it reflects, I am still treading the learning curve)

1. The cropping on movies like "MOBIUS" was more than just 16:9 how to achieve the 1.85:1 type of cropping. Putting black bars on top & bottom in pst is one option but when its blown onto film doest the frame size go weird by stretching out the image to fill in the fram. As it wont be a true 1.85:1

2. What has to be the frame rate 24p or 23.xxxxx (there are two and am confused) for theatrical prints. Edits will done on FCP 7

3. Should we go with onboard sound or have an additional sound track recorder. Whats the benefit of either. Ofcource edit time is faster with on board sound recording but I am concerned about sound quality specifically.

4. Also after geting the Alphatron EVF when I compare it with C300 LCD its colors are different ... how to match them & which one to rely more for color gamut matching

5. There was an option to consider recording parallel on Nano Flash, but there arent any real world examples to help decide (in my knowledge) more over Dan Keaton is sleeping over since ever over the idea to test results of C300 with Nano Flash at higher ratios ( http://www.dvinfo.net/forum/converge...lash-c300.html )

6. Wondering how to use Clog for shooting while using both Alphatron & C300's LCD

Ben Giles · June 9th, 2013, 06:46 PM

I can't speak for anyone else, but I'd hazard a guess that it may have something to do with the tone of your posts. However, if it's useful, here's my take, hopefully so you don't feel colleagues on this forum are "no help whatsoever." The following answers are based on my extensive experience as a film editor - not as a DoP, so I'm sure others may wish to chip in and correct me!

1. The cropping on movies like "MOBIUS" was more than just 16:9 how to achieve the 1.85:1 type of cropping. Putting black bars on top & bottom in pst is one option but when its blown onto film doest the frame size go weird by stretching out the image to fill in the fram. As it wont be a true 1.85:1

1:78:1 into 1:85:1 doesn't translate precisely, so it's going to need a slight crop - but never stretching. If you're presenting on 35mm, speak to your distributor and/or DI facility - they'll specify what they need from you and the best frame lines for whatever viewfinder/monitor you use.

2. What has to be the frame rate 24p or 23.xxxxx (there are two and am confused) for theatrical prints. Edits will done on FCP 7

You're shooting for film, so you need a straight progressive format. You should be able to edit natively at 24FPS in FCP. If you're shooting on a C300, you're limited to 1920x1080, so I'd edit it natively in FCP in Pro Res HQ 1080P24. It's all native video until you print to film. Talk to your editor.

3. Should we go with onboard sound or have an additional sound track recorder. Whats the benefit of either. Ofcource edit time is faster with on board sound recording but I am concerned about sound quality specifically.

I'm not sure how to answer this - it's such a profoundly basic question, but - based on that - I suggest you use the internal audio. Alternatively, employ a sound recordist who will have a very clear opinion and workflow. External recorders offer higher sample and bit rates, better pre-amps and multiple channels etc etc. But it's useful to feed aux channels to your camera inputs as a guide, making it easier for the editor to synch and work with the rushes.

4. Also after geting the Alphatron EVF when I compare it with C300 LCD its colors are different ... how to match them & which one to rely more for color gamut matching

I'd suggest you do extensive testing to deduce the best settings for the way you work and to test any potential gamma shift through the post production chain - FCP 7 can have issues with 1.8 vs 2.2 gamma, so you may need to make allowances to work around that, depending on the video card and monitor you use.

5. There was an option to consider recording parallel on Nano Flash, but there arent any real world examples to help decide (in my knowledge) more over Dan Keaton is sleeping over since ever over the idea to test results of C300 with Nano Flash at higher ratios ( http://www.dvinfo.net/forum/canon-ci...lash-c300.html )

Sorry, I don't understand the question. However, if you're printing to 35mm and presenting on a large screen, you'll quite possibly benefit from an external recorder - as well as having rushes that go straight into FCP 7, without the need to transcode.

6. Wondering how to use Clog for shooting while using both Alphatron & C300's LCD

I'll leave that to someone else with greater knowledge of the C300 and/or Alphatron.

Cheers,

Ben.

June 7th, 2013, 01:14 AM	#1
Roger Pinto Regular Crew Join Date: Sep 2012 Location: India Posts: 98	Cinema Project querry : C300 I am having an offer to shoot a Feature for a producer & have certain C300 specific questions : (Pardon my ignorance on subject where ever it reflects, I am still treading the learning curve) 1. The cropping on movies like "MOBIUS" was more than just 16:9 how to achieve the 1.85:1 type of cropping. Putting black bars on top & bottom in pst is one option but when its blown onto film doest the frame size go weird by stretching out the image to fill in the fram. As it wont be a true 1.85:1 2. What has to be the frame rate 24p or 23.xxxxx (there are two and am confused) for theatrical prints. Edits will done on FCP 7 3. Should we go with onboard sound or have an additional sound track recorder. Whats the benefit of either. Ofcource edit time is faster with on board sound recording but I am concerned about sound quality specifically. 4. Also after geting the Alphatron EVF when I compare it with C300 LCD its colors are different ... how to match them & which one to rely more for color gamut matching 5. There was an option to consider recording parallel on Nano Flash, but there arent any real world examples to help decide (in my knowledge) more over Dan Keaton is sleeping over since ever over the idea to test results of C300 with Nano Flash at higher ratios ( http://www.dvinfo.net/forum/converge...lash-c300.html ) 6. Wondering how to use Clog for shooting while using both Alphatron & C300's LCD

June 9th, 2013, 06:46 PM	#2
Ben Giles Regular Crew Join Date: Apr 2010 Location: UK Posts: 145	Re: Cinema Project querry : C300 I can't speak for anyone else, but I'd hazard a guess that it may have something to do with the tone of your posts. However, if it's useful, here's my take, hopefully so you don't feel colleagues on this forum are "no help whatsoever." The following answers are based on my extensive experience as a film editor - not as a DoP, so I'm sure others may wish to chip in and correct me! 1. The cropping on movies like "MOBIUS" was more than just 16:9 how to achieve the 1.85:1 type of cropping. Putting black bars on top & bottom in pst is one option but when its blown onto film doest the frame size go weird by stretching out the image to fill in the fram. As it wont be a true 1.85:1 1:78:1 into 1:85:1 doesn't translate precisely, so it's going to need a slight crop - but never stretching. If you're presenting on 35mm, speak to your distributor and/or DI facility - they'll specify what they need from you and the best frame lines for whatever viewfinder/monitor you use. 2. What has to be the frame rate 24p or 23.xxxxx (there are two and am confused) for theatrical prints. Edits will done on FCP 7 You're shooting for film, so you need a straight progressive format. You should be able to edit natively at 24FPS in FCP. If you're shooting on a C300, you're limited to 1920x1080, so I'd edit it natively in FCP in Pro Res HQ 1080P24. It's all native video until you print to film. Talk to your editor. 3. Should we go with onboard sound or have an additional sound track recorder. Whats the benefit of either. Ofcource edit time is faster with on board sound recording but I am concerned about sound quality specifically. I'm not sure how to answer this - it's such a profoundly basic question, but - based on that - I suggest you use the internal audio. Alternatively, employ a sound recordist who will have a very clear opinion and workflow. External recorders offer higher sample and bit rates, better pre-amps and multiple channels etc etc. But it's useful to feed aux channels to your camera inputs as a guide, making it easier for the editor to synch and work with the rushes. 4. Also after geting the Alphatron EVF when I compare it with C300 LCD its colors are different ... how to match them & which one to rely more for color gamut matching I'd suggest you do extensive testing to deduce the best settings for the way you work and to test any potential gamma shift through the post production chain - FCP 7 can have issues with 1.8 vs 2.2 gamma, so you may need to make allowances to work around that, depending on the video card and monitor you use. 5. There was an option to consider recording parallel on Nano Flash, but there arent any real world examples to help decide (in my knowledge) more over Dan Keaton is sleeping over since ever over the idea to test results of C300 with Nano Flash at higher ratios ( http://www.dvinfo.net/forum/canon-ci...lash-c300.html ) Sorry, I don't understand the question. However, if you're printing to 35mm and presenting on a large screen, you'll quite possibly benefit from an external recorder - as well as having rushes that go straight into FCP 7, without the need to transcode. 6. Wondering how to use Clog for shooting while using both Alphatron & C300's LCD I'll leave that to someone else with greater knowledge of the C300 and/or Alphatron. Cheers, Ben. __________________ www.bengiles.co.uk www.matobo.co.uk