Vuze Trouble

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I use Azureus quite a bit when I want to download something quickly thanks to the bandwidth of thousands of my friends. In an effort to become legitimate, Azureus has launched a streaming service called Vuze that encourages distribution of HD content. I don’t have any HD content to share right now, but on the web, 640×480 is pretty high-res. So I decided to upload a few things and try it out. I started with Getting Laid Tonight. Everything happens very quickly. Upload is as fast as you can make it, and the download is too. But the audio was a few seconds out of sync. I’ve had trouble with Getting Laid Tonight in the past because the fully cropped video is a non-standard size. That might have been the problem. So I tried the Brad Wood music video. The sync was fine, but the compression destroyed the music quality. Everything sounds over-modulated. I’ve removed both videos from the “content network” but I’ll try out a few other things. I’m mainly interested in this for the distribution of my animated series. I’m going to create it in HD, so this could be a good way to distribute the HD video.

Avid Xpress Pro: Good Riddance

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Ever since Media Composer was released as a software-only option (no longer requiring expensive Avid hardware) I’ve had a hard time understanding why it cost so much more than Xpress Pro, considering the complete compatibility between them, and the large overlap in features. I didn’t see much need to upgrade to Media Composer myself. Well, apparently Avid is done with Xpress Pro, and they’re slashing the price of Media Composer. I think this is a great move. It puts Media Composer much closer to the price of Final Cut Studio, and removes the vestigial Xpress Pro line. It’s getting so cheap, I might even buy a Mojo some day.

Uncle Gary Breaks The Burro

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Every once in a while I go through the various unlabeled and ambiguously labeled DV tapes I’ve been collecting since college, mostly in the hope that I’ll find the long-lost rehearsal tape that I shot with Jennie Tarr before we started shooting Camera Noise. I remember it being quite good. But I also think I taped over it.

Luckily, I found this little gem. Uncle Gary Breaks The Burro is a 4-minute story that my uncle told me for a class called “Life Stories.” This was the warm-up for my later project The Life Story of Kyle Gilman as Told to Him by His Mother Mary.

Animation!

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Last week Jennie Tarr and I did a photo shoot with Jenny Woodward for what I hope will eventually be a very quick photo animation technique. Here’s a preview.

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Film & FCP

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Film lists. Like film itself, they are on the way out. When we did Lake City we shot on super-16mm and transferred all of the negatives to HDCAM-SR with 10-bit log color. We edited with downconverted DVCAM tapes, then did an online using timecode. Since it was edited on an Avid, and I used ALEs from the lab to batch capture the DVCAMs, keycode was also tracked automatically. It was good to have around, in case for some reason we had to re-transfer something from s16, but in the end the HDCAM-SR tapes were our master tapes. And obviously if you originate in HD you don’t have any film to track. So believe it or not, in all the modestly budgeted films I’ve worked on, I’ve never had to deal with film lists before.

There are still some times when you need to track film. If you shoot 35mm, you might cut negative and make a print the old-fashioned way without a DI. In that case you’re going to be using keycode like crazy. You’ll probably conform a workprint before you cut your negatives too. Or if you shoot 35mm and do a DI, you’ll benefit from the increased resolution of 2K and 4K. At the moment it is not cost-effective to scan in all your dailies at 2K, and certainly not at 4K. So in that case your DI facility will have to scan the negatives from a film list that you generate.

But I’ve recently been working on a movie shot on s16 and transferred straight to DVCAM. It was then edited in FCP. I was not involved in the project until they brought me in at the hand-off to the sound editors when it became clear that there were problems. Final Cut Pro is a great piece of editing software, but it’s so flexible that if you don’t know exactly what you’re doing, you can get in trouble fast.

The first problem is working with film shot at 24 fps and telecined at 23.98, and trying to synchronize it with BWFs (Broadcast WAV files, which are WAV files with timecode) from a digital sound recorder. One way to avoid this hassle is to conform all the video to 24.0 fps using Cinema Tools. But it’s really best not to do that. Sound editors don’t like it, and you’ll have some trouble viewing on an external NTSC monitor or outputting to tape. It’s best to keep everything at “video speed.” Read more →

The End of an Era

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rayprivett.jpgThe Two Boots Pioneer Theater on Avenue A and 3rd St. in Manhattan is one hell of a cool theater. For 4 years, Ray Privett has been the man behind the curtain keeping it the weirdest and most experimental of New York’s first run-theaters. I first met Ray when he gave Richard Sylvarnes’s The Cloud of Unknowing a week-long run, guaranteeing a review in the New York Times. At the time I was the brand-new head of distribution at the brand-new company The Possible Films Collection. Only after weeks of emailing him did I learn that he was my friend Randy Bell’s new roommate. We went on to do a sold-out screening of Hal Hartley’s short films, where we sold a ton of DVDs, a two-week run of The Girl From Monday, and most importantly, an evening of my own short films called “Kyle Gilman: Some Success but Mostly Failure” which featured the world premiere of Two Night Stand. I’ve never screened my films together like that at any other time, and it was really gratifying to do it with such a surprising and appreciative audience.

And just to connect me to The Pioneer even closer, The First Sundays Comedy Film Festival moved there a few years ago. They were the first people in NYC to show any of my films. They even showed the Bad Webcam Sex video as part of The Pioneer’s online video series (after some other online video series decided they didn’t want to share their screening slot earlier in the week).

But after 4 years of a job that never seems to take a break, Ray is leaving The Pioneer. He will be missed. I hope he has a great time with his new projects, and I hope The Pioneer doesn’t suck without him.

The Tyranny of the Thumbnail

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Marshall Herskovitz, co-creater of the Internet series Quarterlife, has an article in Slate today about what he’s learned about the Internet by doing an online series. The main thing he seems to have absorbed is that a partially naked girl in the thumbnail is the only thing you need to get a lot of hits. It just highlights how ridiculous it is that YouTube gives only 3 options for a thumbnail. The thumbnail is the poster for your movie. It is essentially the entire advertising campaign. How hard would it be to give us the option of choosing any frame from the video as the thumbnail? It’s not 1995, we have this technology.

A Stopgap Solution

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I was working on a movie in Avid Xpress Pro (on Windows XP) recently and I figured it was time to finally get some equipment so I (and a client) could watch the video on an external monitor. A DV deck is the usual way. You hook up the deck to the computer via firewire, the deck translates the DV to analog, you hook your TV into the deck and you’ve got NTSC video. Trouble is, I have very little use for a deck. Most projects I edit these days come to me already on a hard drive. DV tape is obviously on its way out, and spending $2000 on a deck I won’t be using much longer seems a little silly.

I was hoping to get an Intensity Pro. I didn’t need to capture or output any tapes, so that seemed ideal since it could also handle HD. But then I remembered that Avid doesn’t play well with others. Avid only works with Avid DNA products like the Mojo. The Mojo is essentially a glorified digital/analog converter that also adds 2:3 pulldown to 24p video in realtime and retails for $1700. It’s worth noting that Final Cut Pro adds 2:3 pulldown for free.

sony-dcr-hc28192046.jpgI considered a D/A converter, but they all run around $200 and don’t have any tape decks, in case I do need to capture a tape here and there. Eventually I decided that a cheap camcorder was my best option. First I got a $160 Canon camcorder. With Avid Xpress Pro I was getting a 16 frame delay and often drifting out of sync, which I assumed was because it was a cheap piece of crap. I returned it and got a $190 Sony DCR-HC28 since I’ve had such good experiences with Sony decks. I still get the 16 frame delay with the Sony camcorder, but I don’t have the drifting problem. I was working on a different project in Final Cut Pro, so I booted up the Mac OS to see what the delay would be. Turns out it’s only 2 frames, which is what I usually expect from FCP with a firewire deck. That really surprised me since it’s the same computer. From what I’ve read in online forums, the 16 frame delay is standard for Avid without a DNA like the Mojo. I’ve turned on desktop play delay, which keeps the video in sync, but it makes editing a bit more difficult.

I don’t have any plans to start shooting home movies, so I can’t say anything about the image quality of the camera. I can only assume it’s horrible.

Thank God That’s Over

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Well, it’s official, HD DVD is dead. Now you can finally get a high definition DVD player without worrying it’s going to turn into a Betamax. I’ve looked at the options available and it seems pretty obvious that much like my first DVD player, the best value comes from the Playstation. Way back in 2001 I bought a Playstation 2 because I wanted to watch DVDs on TV instead of on my computer. And also because I like to play the occasional video game. It turns out the Playstation 2 was a pretty bad DVD player, but it served its purpose for a couple years until I got a very nice standalone DVD player. The PS2 spent a few years in the closet until it was resurrected for Guitar Hero.

Now, all the Blu-Ray players available retail for $300-400. A Playstation 3 can be had for as little as $400. So for a few extra bucks you get a really fancy computer along with the ability to play high definition DVDs. I think it’s going to be a while before I pony up that cash. I’m still really happy with the quality of anamorphic DVDs on my plasma. It might have to wait until after I get a 1080p display. I’d love to get Rock Band though.

Other pieces of equipment in line ahead of the PS3:

  • A new graphics card. Leaning towards an nVidia 8600. My 6600 is getting pretty long in the tooth.
  • A spiffy HTPC case for the guts of my old computer. I’m planning to hook up my computer to the plasma TV in the living room so we can check IMDb without leaving the couch. We’ll even be able to do picture-in-picture. Also, we can watch videos downloaded from the Internet.
  • A Blackmagic Intensity Pro. For only $350 you get HD out of your computer, and realtime downconversion to SD.
  • A new HD TV. Probably a 42″ plasma for the living room, so I can use the year-old 37″ as a client monitor in my office. I’m hoping Panasonic puts out some smaller 1080p displays soon.