Hi everybody!
I wanted to share some exciting news about a new project I'm a part of. After completing "South Bronx United" we have embarked upon a new documentary entitled "Under the Bus." The film follows the 2013 New York City School Bus Strike. We began filming in late January and although the strike officially ended today, we have not stopped filming!
As the mainstream media has not provided much coverage of the strike, we have been posting preview clips at www.youtube.com/underthebusfilm. We will be releasing more information, clips, photos and trailers over the next couple weeks.
Until Soon,
_pH
aBlogAbout.Haas
Peter J. Haas: Editor, Writer & Director
20 February 2013
08 January 2013
RedShark News Exclusive - Digital Bolex interview: 16mm for the 21st Century?
Hi Folks!
I wanted to invite you all to read an article that I wrote about the upcoming Digital Bolex camera.
For those of you who aren't familiar, the Digital Bolex is a 2K RAW cinema camera designed for independent filmmakers. The camera gathered copious attention on Kickstarter when they raised over $250,000. The camera aims to hit the market in early 2013, for just over $3,000 (USD).
I spoke with Joe and Elle for over an hour, discussing the history and vision for the Digital Bolex as well as a their vision for the future of high-resolution cinema.
FROM THE STORY
Read more from RedShark News: http://www.redsharknews.com
To learn more about the Digital Bolex, check out their website: http://www.digitalbolex.com
Cheers,
Peter J. Haas
phaas@peterhaasfilms.com
http://films.peterjhaas.com
twitter: @phaas
I wanted to invite you all to read an article that I wrote about the upcoming Digital Bolex camera.
For those of you who aren't familiar, the Digital Bolex is a 2K RAW cinema camera designed for independent filmmakers. The camera gathered copious attention on Kickstarter when they raised over $250,000. The camera aims to hit the market in early 2013, for just over $3,000 (USD).
I spoke with Joe and Elle for over an hour, discussing the history and vision for the Digital Bolex as well as a their vision for the future of high-resolution cinema.
FROM THE STORY
“When I first heard about the release of the Bolex’s first digital camera, it literally sounded like the opening of a Fairytale:
“Once upon a time, motion picture cameras that created high-quality images were affordable for all filmmakers on any budget. Consumer 8mm and 16mm cameras like the original Bolex shot footage that could be projected on any movie theater screen… In today’s digital market, ‘affordable’ and ‘consumer’ have become synonymous with ‘low-quality’…”
“It doesn’t have to be that way.” Claimed Joe Rubinstein and Elle Schneider, the heads of Digital Bolex. In March of 2012, Joe and Elle took over a year's worth of planning (including the production of a film shot with a Digital Bolex prototype) to the masses. With the consent of Bolex of Switzerland and using the popular crowd-source funding website “KickStarter” they pitched their camera to the world.
[ Read the complete article here: http://www.redsharknews.com/business/item/281-exclusive-digital-bolex-interview-16mm-for-the-21st-century ]I’m going to be writing more for RedShark News over the coming year and I would love to hear what you, the independent filmmakers of Shooting People want to read about. Send me an e-mail or contact me on Twitter to let me know what you’re passionate about!
Read more from RedShark News: http://www.redsharknews.com
To learn more about the Digital Bolex, check out their website: http://www.digitalbolex.com
Cheers,
Peter J. Haas
phaas@peterhaasfilms.com
http://films.peterjhaas.com
twitter: @phaas
07 August 2012
Fixing A little “Got-cha!” in the LightWorks to Premiere Finishing Workflow
On a recent music video I
experimented with taking a project out of LightWorks and into Adobe Premiere Pro 5.5 for finishing and conform. The
project was only scheduled for 14 hours of total production (yes, that’s right,
14 hours to shoot, edit and deliver!) so Premiere’s native integration with
After Effects, Photoshop and Audition were extremely attractive for our
schedule.
The process is outlined in a previous
blog post and in retrospect was amazing successful. In fact, due to it’s success we’re currently
working on a LightWorks to FCP workflow for people who wish to use Motion,
Color and Sound Track Pro.
I’m currently cutting a feature
documentary in EditShare’s latest Pro version of LightWorks, and we’re very
interested in revisiting this workflow for finishing. We were running some tests yesterday and
noticed a interesting little bug in the workflow we hadn’t noticed before.
After a successful import of the
AAF sequence into Premiere, the media relinking kept returning an error for
files we knew matched. It didn’t seem to
be an issue with the AAF, as some of the media seemed to relink just fine.
We found our answer inside our
LightWorks edit. When trimming in LWKS
you can extend a clip beyond it’s content region. LWKS treats this as slug or filler, but we
found when exporting the AAF that the extra filler space is treated as an
extension of the clip. When you try to
relink to media files Premiere will reject the linking - believing that the
empty clip and media you have selected do not match due to the fact the clip is
longer than the media file.
Solution: I had to manually go
through my LightWorks Edit and remove all the extraneous trims. After making sure I hadn’t left any sloppy
trims in the edit, we exported the AAF again, and all the media easily relinked
in Premiere.
Is anyone out there interested in
an FCP7 version of this finishing workflow? We’re considering it right now, as
FCP7 is still one of the best ways to manage HDSLR footage.
Questions, comments, war stories?
11 July 2012
EDIT IN LIGHTWORKS, FINISH IN PREMIERE
WHY
As an editor, I love cutting in
LightWorks; it’s the fastest, most distraction-free editing environment I’ve
come across*. I want to be able to focus on
story and content and know that when I’m done, I can easily hand off my edit
for finishing without having to worry about platform. Adobe Premiere has proven itself very
flexible in format support; so it seemed like a natural gateway to the other
Adobe tools.
When
starting this project, we knew we were going to use After Effects to embellish
or augment a number of shots (43 to be precise). Premiere integrates really well with After
Effects and Photoshop; and the real-time composition sharing really appealed to
me. Since “Hung My Halo” is a small music video project (only around 32
minutes of footage), I thought it would be a good test-run into how CS5.5 could
practically be used in a workflow for a larger film.
THE WORKFLOW
The video was filmed on the Canon 7D. I embedded reel and timecode metadata
using a fantastic piece of software called QT Change.
Next, I used Adobe Bridge to rename
the clips, as the automation tool is frankly amazing (Though I do wish the
application would also modify the names of the THM files). My approach to renaming these files was by
reel and clip number. This is
consistently the easiest method on the media management side. I typically work with syncs and ghost (aka
subclips) in LWKS that get renamed.
Next we imported the footage into
LWKS using the transcode method, with DVCProHD as our target resolution. Inside the edit we made good use of the
Sync-Bins, being able to freely add clips to a bin when we found sync in the
b-roll was a huge time saver.
GOING TO PREMIERE
We fist tried exporting an EDL from
LightWorks as a method of getting footage into Premiere. This caused a number of issues – the largest
being that Premiere groups EDL shots together and seemed to only want to relink
via tape-capture.
Our second route was, and
admittedly what we should have tried first, was exporting an AAF out of
LightWorks. LWKS automatically traces
the edit (meaning that it removes all subclip and sync names and creates an
edit that references the name of the original media file), and this opens
perfectly in Premiere.
This is where we hit a bit of a
issue. The exported AAF attempts to
reference the original “cookie” materials generated by the LWKS transcode. When attempting to relink to those QuickTime
files, Premiere crashed or would report that the connections could not be made.
We were able to get the files to
connect manually by pointing to the original H.264 files, but this process was
tedious and made working with effects sluggish.
I’m not sure if this Relink issue was a problem of compatibility of the
media produced by LightWorks or issues in Premiere’s ability to relink
files. In a more perfect world, had we
had more time in our schedule, I would have transcoded the H.264 to a better
format.
NOTE: I did in fact, attempt to transcode
the files using Adobe Media Encoder, and MPEG Streamclip. AME produced clips with wildly incorrect
timecode while MPEG Streamclip produced clips with no metadata at all. We didn’t have time to properly work out a
solution to this problem so we went ahead with the H.264 files.
For what it’s worth, I was
seriously impressed at the speed with which both Premiere and After Effects
handled the H.264 files. Using CS5.5 did
end up saving a huge amount of time organizing the effects shots. I was able to quickly create an After Effects
composition, do the required work and show it to my partner.
The color correction tools natively
found in Premiere are not great. For
this project a majority of the color correction was about applying a specific
LUT and basic shot-to-shot correction. I
was able to get by using Red Giant Colorista Free and LUT Buddy. I find the color correction tools in
LightWorks much more powerful and more aptly designed for this sort of
work. That being said, I know there is a
lot of buzz around the fact that Adobe has included Speed Grade in CS6. I’m excited to try this workflow again with
the more advanced grading tools.
The final export was smooth, as
Media Encoder was able to quickly create master copies and a handful of
internet formats we needed.
IN CONCLUSION
There is a future in this sort of
workflow, and it’s important that LWKS is able to integrate well with tools
like Adobe CS. Since Premiere is already
so tightly integrated into all the important parts of CS, it seems the logical
focus should be on improving the way LWKS can exchange edits with Premiere.
I would like to be able to
understand the issue with Premiere’s inability to reconnect to media that was
created by LWKS. In this situation
(where we are cutting at online quality) it could have saved a couple of hours
of work dealing with manual relinking issues.
Another option might be to have an option in the LWKS AAF export to have
an option to “relink to media with same file name as clip.”
I’m not
sure if I would use this exact workflow for future long form projects. I will most likely return to a more
traditional way of working between LWKS and AFX, at least until there is a more
direct solution for the relinking issue.
That being said, I will certainly be keeping an eye on future
possibilities, and look forward to tinkering with new ways to streamline an
open workflow.
* I want to point out that I am not on the payroll of Edit Share and receive no compensation from them in any way.
09 July 2012
It's Been A Long Time.
What
can I say, we all get busy?
So
much has happened since the last posting of ... wow, too many years ago.
I can't even begin to cover everything, so I will attempt to exercise the
art of brevity.
LightWorks is free. Yes. It's true. LightWorks (my NLE of choice*) has
officially come out of the beta phase and is being offered as both a free light
edition and a $60/year Pro license. I have been involved with the Beta
for almost two years and in my opinion the folks over at EditShare have done a
brilliant job at creating a very user-friendly, lightening-fast and modern NLE.
There will be many more blog posts about LWKS as I am in the process of
writing a book for current Avid and FCP editors on switching to LightWorks, so
keep an eye out!
FCP-X happened. So much has been said that I honestly have nothing new to add to
this arena. I have edited one commercial
on it. I tested a recent version
(10.0.4) of software for editing an upcoming documentary that I’ll be butting
(a week’s worth of fiddling) and have come to some conclusions. At the risk of being brow-beaten by my
post-productions peers, I will say there is a lot to like about this software. It’s different, VERY different.
FCPX finally handles media well!
The copying & optimized/proxy transcoding is a dream. It finally works the way it should have
forever ago. I’m still very confused
about a number of points in the media-management end of this software, and the
interface makes very little sense to me, but I see a future for this software
in reality TV.
I know, I know, there’s a lot “missing.”
OMF support, export for grading, poor match-frame support, confusion
trackless editing, not telling you when you lose sync, etc., etc..
Think about it. When it comes to
most TV production (at least here on the east cost) care about three things: 1)
don’t lose anything 2) make it as easy as possible for the producer to
pre-cut 3) finishing it faster, better,
cheaper
Reality TV is almost always already
organized by date, not scenes, thus the Events concept works perfectly. Face-ID
reduces the amount of time assistants / editors “waste” having to go looking
for additional cut-away shots. The
current Shared storage solution solves the old FCP issues of sharing media and
clips. Making the interface more
“pro-sumer” or “i-movie” like now takes down a barrier to producers.
AVID 6 – Used on a couple of jobs. The
application feels more akin to FCP7, less like the Avid I’m most familiar with
(3.5.4!); otherwise, not so bad. Didn’t
experience any major issues aside from the mental leap to some of the newer
features.
The
Digital Bolex – Us film school graduating-filmphiles love the Bolex. Now, some very smart and passionate folks
have teamed up with the Bolex company to create a 2K RAW camera for under
$4,000! Still waiting to see some
official footage release, but I am personally very excited. Cameras come out in September.
Black Magic Design – Also has a professional super-16mm RAW camera available in July. The camera sounds great, but my reservation
comes from the CMOS chip, form factor and touch screen monitor. Cameras out in July 2012.
OKAY. So maybe I failed at the targeted
brevity. I am very excited to get this
blog back up and running!
Cheers,
COMING SOON
A reflection on my most recent editing project: a dance-infused
country music video. The project was
shot on a Canon 7D, edited in Edit Share LightWorks with the conform/color and DVD
production done in Adobe Creative Suite 5.5.
I’m going to focus on the aspects of moving an edit out of LWKS and why
we decided to move into Adobe CS for finishing.
07 March 2010
offline/proxy workflow for p2 materials
After trolling the internet for a solution similar to Avid’s offline workflow for Final Cut Pro, I found myself stumped, and at best left with the message “Dude, why? Just cut natively.”
From keeping your master safely away from the cutting room, to needing cramming those extra shots on a portable drive for a mobile edit, there are a number of reasons one might want to cut at “offline quality” whilst cutting P2 in Final Cut Pro.
One of my largest gripes with FCP is the bullish slow down encountered when cutting with large amounts of footage in your browser (read: unscripted documentary). The larger the files, the more system resources FCP eats up attempting to manage it all. This means when you access bins or load clips in the source viewer you’re going to be waiting. By creating proxy footage you can alleviate some of the stress on your NLE system and speed up your editing.
Due to the possibly confusing nature of the term ‘offline’ (as it refers to low-resolution media and media that has gone missing from it’s pointer), I will refer to the new media that we’re creating as “proxy” footage.
PLEASE NOTE: I will be using my own person version of media management when it comes to this demo. Here’s a brief explanation of my personal system:
To manage Media I create a master folder for each project, this becomes the ‘project folder.’ This folder acts as an all-encompassing living space for all the elements that are related to your cutting project.
I tend to create six folders inside the project folder. My project directory looks something like this:
PROJECT.NAME { 1.Cuts, 2.Materials, 3.Sound, 4.Working 5.Exports 6.Docs }
The cuts folder contains all the projects related to the edit. The materials folder contains all the media that you add to your browser (I capture footage in a general capture bin and move the media using the finder). Sound is where I keep audio files and mixes. Exports contain exported QT’s and OMFs. Docs is where I keep scripts, notes etc. The working folder is a catch-all for incomplete files that are under construction (any files that are proxy I keep the materials folders, and just switch out media without changing names so that FCP automatically updates).
Assuming you have all your media in your “Materials” folders. To begin, I create a new folder within the Materials folder called “Proxy.” This will be the home of your new proxy media.
If you have already created a project to log your footage, you’ll want to keep all the logging meta-data you have generated. In order to maintain this information, you will need to use FCP’s Media Management tool to create an offline (read: proxy) project with the proper settings.
With nothing selected in your browser, select FILE > MEDIA MANAGER to bring up the Media Manager window. Under the “MEDIA:” drop-down option and select “Create offline.” This will grey out most options. Now under “Set sequences to:” option scroll through the list and select “Apple ProRes 422 (Proxy) 960×720” with the frame rate that matches your project. Make sure that “Base media file names on:” to “existing file names.” And click ok. It will ask you where you want to save your project (1.Cuts folder). I normally append the word “proxy.”
Next, we’re going to load compressor.
First, create a new custom DESTINATION. Set the PATH to your MATERIALS/PROXY folder and make sure that under “output filename template: simply says “Source Media Name.” THIS IS VERY IMPORTANT. If you change this, and append anything to the proxy file name you will be unable to relink back to your online media.
Next, under settings, create a new QUICKTIME MOVIE setting. Under encoder settings / video and select “Apple ProRes 422 (Proxy) and set the Frame rate to “current.” Under the geometry settings, change the frame size to “50% of source.”
Now apply the setting and the destination to all the files in the compressor window and select “submit.”
Go grab some food, coffee, etc. Depending on how much footage you have this could be a while. (Note, this process is best if done at the beginning of a project, think of how you’d import footage into avid at an offline resolution. You can also, selectively convert footage if you’re in a situation where you only need to worry sections of your timeline.)
Now to reconnect / relink the clips to the proxy media. In FCP select the bins and select FILE > RECONNECT and navigate to the PROXY folder inside MATERIALS and select the first clip. Final Cut will now automatically reconnect the media files and you’re ready to edit!
When it comes time to prepare an online (full resolution version) of your final edit. Use the Media Manager only now under the “Set sequences to:” select the full resolution and create a new project entitled PROJECTNAME (online). Using the RECONNECT tool, select the full resolution clip.
Happy cutting.
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