Satanic warmaster AMAZING FILMAKING

Satanic warmaster

AMAZING FILMAKING. CARRIE?!! You mean the way-cool, cultish horror flick from Brian DePalma? Made you cry?! Sorry, but I dont get that one. Unless you mean you cried cause she was picked on and teased. But, boy, did she get revenge?! Love that movie. If you wanna cry, check out Magnolia. Gets me every !! If you wanna cry, check out Magnolia Ooops. You may not make may friends saying stuff like that Kikuchiyo! Plenty of people out there who think that its ace, myself included. Why did you think it was so crap? Too long? poor excuse! I think its one of the best movies to comeout of Hollywood for a LONG time, but hey, what do I know, right?!! Ciao baby. I agree. It takes its time to tell multiple, powerful stories with great dialogue, direction and performances. All times are GMT. The time now is 10:47 AM. For all HD formats including HDV, HDCAM, DVCPRO HD and others. Ive just shot a feature in HDV 720/25p on a JVC 111E and its intended for DVD release PAL. However, I want to keep the best resolution and quality possible because I also want to have a Blu-ray version present, along with the DVD and a possible film-out option for the future no budget for this at present. The edit will probably be on FCP, and compositing chroma work will be on After Effects. I also have a 45 second 3D animation on 3Ds Max. Probably, Ill be using the ProRes 422 codec to edit in FCP. My editor uses a Macbook Pro and I use a laptop PC. Hence the FCP and AE mix, instead of Shake. What is the best workflow solution? I cant afford Cineform. Ive used the trial version and it works great on the Premiere Pro, but since Im going FCP way and it has its own lossless codec, I figure why bother. So, in all likelihood, there is no way Im changing any of the software I mentioned above, cause Im stuck with it. How do I get files from FCP to After Effects and 3Ds Max and back? Will ProRes hold up and is it compatible with AE and 3D Max? Or should I change ProRes to something else, import the footage into AE and then render out to something else? Ive been reading a lot of posts, and the more I read, the more confused I become. So, I guess Im stuck! I would appreciate any help in this regard. Thanks! Location: Auckland, New Zealand Realistically your biggest concern is ensuring that your edit and tape logging records accurate timecode so you can produce an EDL that will work for a more sophisticated post house if you get the money to do a high end grade/DI at a later date before going to a film out. For DVD release assuming you are handling the duplication/replication ProRes is certainly a good intermediate format that you will not need to go back to an online from, less true if you are looking at doing an expensive DI and film out. Ideally all your graphics and effects should be output in an uncompressed format, then conformed to Prores for your edit. Realistically your biggest concern is ensuring that your edit and tape logging records accurate timecode so you satanic warmaster produce an EDL that will work for a more sophisticated post house if you get the money to do a high end grade/DI at a later date before going to a film out. For DVD release assuming you are handling the duplication/replication ProRes is certainly a good intermediate format that you will not need to go back to an online from, less true if you are looking at doing an expensive DI and film out. Ideally all your graphics and effects should be output in an uncompressed format, then conformed to Prores for your edit. I shot without any records of timecode. I did that after some research on forums that it isnt really a big deal. Can a sophisticated post house manage without it? Anyway, I dont have the experience to log timecode in a way that might help anybody. I dont think Ill be handling the replication process, assuming what you mean by that is producing multiple copies of DVDs for release. That might be outsourced. So should I keep the output format as ProRes? Is that the best possible? Its just a little confusing, but shouldnt my output be MPEG-2 DVD? For graphics/effects, what is an uncompressed format? Since Im using AE, what would that be? And will it be a different format for 3D Max? Can I match various formats in the FCP timeline and still work with ProRes? Location: Auckland, New Zealand Hi Sareesh, this is going to be a bit of a long reply because what you are hoping to achieve is a LONG way from where you are at and as such there is a lot you need to understand. First thing is the importance of timecode in an OFFLINE/ONLINE workflow. You dont necessarily need to have recorded timecode on the day manually as timecode will have been recorded in your camera on your tapes. Even the time code on your tapes will be of a big advantage if you want to Online Edit at a later date in fact doing an Online edit without time code being correctly on the tapes is practically impossible, as it means manually making every single cut again. What I mean by an Online Edit is when you take all your original tapes, satanic warmaster and media in your edit to a high end production house who then reassembles your entire film using an EDL Edit Decision List or your original Final Cut Project, but instead of ingesting media in a compressed form such as HDV or ProRess its ingested as uncompressed 10Bit Video.