Baselight qu BUT can be answered by any DI expert

[blfl]

Hi guys,

This is my first post.
I'm dealing with the BL long time ago but only doing tv commercials and video work.
So I'm not familiar with the DI export for print.

One of my friends wants me to grade his feature film.
I'm familiar now with the truelight profile.
But I'd like to know few things.

His film will be 100 minutes.
-So is it right conforming all the offline edit in one scene?and work or should i divide it?

-when i finish grading, should i render the whole film and one dpx sequence?
or there is rule for certain amount of duration for printing reasons?

-is their any other concerns i should consider during the export process?

any reply will be appreciated.

Thanks
Tony

 

[Evangelos Achillopoulos]

-So is it right conforming all the offline edit in one scene?and work or should i divide it?

-when i finish grading, should i render the whole film and one dpx sequence?
or there is rule for certain amount of duration for printing reasons?

If its going to film out it has to be spilt to acts of no longer than 30000 frames.

-is their any other concerns i should consider during the export process?
Tony

Of coarse color management if its going to film is needed (I suppose by now is needless to repeat that)

 

[blfl]

yes the color managment am aware from..

i were only need this info of the 3000 frames.
but can i know why?
is this issue of the reels?

another qu please is their common way of renaming the dpx sequence?
or it is normal to give it any name?

Thanks

 

[Cüneyt Kaya]

easiest way is to ask the place where yor friend actually will prit his movie to film.
we do a one minute print out of several scenes first to see if the colors match

 

[M Most]

yes the color managment am aware from..

i were only need this info of the 3000 frames.
but can i know why?
is this issue of the reels?

Film reels are 2000 feet. 2000 x 16 (frames per foot) = 32000. You have to leave room for leaders and spooling, thus the approximate number of 30000 frames, or a bit under 1900 feet, as a good working number.

 

[MichaelP]

And make sure the reels are broken at appropriate places not just every 3000 frames. End of scenes that are different (ie: INT versus EXT), make sure sound doesn't span across the reel break, especially music, etc. This is usually done by editorial with the breaks already defined before they get into DI.

Michael

 

[Frank Cueto]

I would recommend housing put the complete movie in one scene. Try to make a scene per reel. As the guys said. Don't go over 20min per reel. Do use 2-pop at reel start an reel end. Besure to have ur fps correct and to monitor 4:4:4 FULL range with a monitor that can give you full range rec709. Be careful with the bl mon probe if u r calibrating with it, since it's setup to CRT primaries an can throw you off if you are monitoring on a wide gamut device.

Many gotchas to go over if u want to have a wide gamut lutes display. Safest,easiest bet would be the full range rec709 monitoring.

We use Baselight every day an put features together monthly for theatrical, so if u have any questions feel free to ask.

Do download Baselight 4.2!

 

[tony_roger]

Thanks guys for ur feedback.
but i'd like to understand what do u mean by..
"Do use 2-pop at reel start an reel end"??
in my case i view on projector..is it must to be 444? or it is ok if connected as 422?

Thanks

 

[Frank Cueto]

2-pop is a frame (it cam be anything content wise) seconds before the actual picture start of your reel. Make sure that editorial put those in and also put a matching tone. That way later one you can sync audio with more confidence, of course the audio studio needs to have matching QTs with 2-pop as well.

Not all PJs are 4:4:4. I would venture a guess and say you are using a jvc or a panasonic?

 

[tony_roger]

JVC

 

[Frank Cueto]

Which particular RS model are you using of the JVC series?

 

[M Most]

Thanks guys for ur feedback.
but i'd like to understand what do u mean by..
"Do use 2-pop at reel start an reel end"??
in my case i view on projector..is it must to be 444? or it is ok if connected as 422?

What exactly is your role on this project? I ask this because you seem to be very unaware of some basic editorial requirements for film projects, so if you're the editor, you should probably talk to another editor with some experience in this. If you're the colorist, you need to talk to a DI facility that does film output and find out what they need and require. Asking questions here is fine, but you're not going to self educate to the point of being knowledgeable enough to spend someone else's money wisely by doing that. You need to ask the people who will be directly involved.

 

[Frank Cueto]

Per what Mike said, be sure of what you are doing, you can easily spend 30-40K and be nowhere hear finishing and already committed. If you dont feel 100% confident, find some help, be upfront with your knowledge with the filmout lab and see how much handholding they are willing to do or hire a consultant (there are some here on RU who are very knowledgable).

One thing to keep in mind, DI's are usually not done for free, filmout tends to be expensive and doing a "favor" for free could leave you wasting $30,000 of the person you are doing a favor...hence the need to charge enough to Cover Your Ass just in case something goes wrong, which is more likely than one want to believe...

Just food for thought. Not trying to rain on your parade, just being honest.

 

[tony_roger]

Thanks guys..
i just wanted to let you know we will talk to the lab and will make test prints after calibrating the projector..

so all this stuff will be done by experts i'm curious to know how this will be done since it is not my job...
but liked to get an idea about it,thanks for your help.
Thanks