It’s no surprise that hard drives play a major role in the career of any filmmaker. Drives are what maintains all of the data we ever use for our projects. Many people take the risky route and treat this as a miscellaneous task when it comes to their files. Other filmmakers, on the other hand, choose not to skimp on this very important aspect. In this episode, we have 4 filmmakers are sitting in a roundtable discussion to explain our methods when it comes to using hard drives for our projects and backing up content. It get’s quite interesting as we each have slightly different techniques for this common aspect of the industry.
Mr. Seratelli shares his latest experience editing a feature-length film. We’re breaking down the different aspects of this endeavor and evaluate whether or not it’s a good idea to head in this direction.
We’re discussing the latest issues i’ve been having with my adobe software. More specifically Premiere Pro and After Effects. After a phone call with Adobe customer service, which was quite pleasant, I was able to fix the issue. Also, I’ve been messing with ProRes RAW with no luck. We’re discussing why.
This question gets ask a lot. It’s never a clear answer. Anthony Seratelli (Jersey Filmmaker) and myself go in-depth into our export settings for each project. It usually depends on the purpose for each video and the platform that it’ll be placed in.
We traveling a lot for work. Then bares the need to take our current projects to hotels so we don’t begin to fall back on our projects whilst accepting new ones. One must be very very careful when doing this. More specifically with regards to hard drives. One mistake, and your drive is gone. This is how we do it.
Organizing your project files is very important once you’re done shooting. Many filmmakers take an entire day to simply get this task done. Why? It’s vital to the efficiency of the post production process. If you do not take the time to organize your files, you’ll most-likely find yourself spending more time later searching and relinking specific video and audio clips. This is especially true for bigger projects.
I’ve got to be honest, color depth is something that I’ve only recently started to look into in the past couple years. Understanding the difference and key benefits of higher color depth has allowed me to really dive into my color correcting/grading with more precision. Not to mention my production process when it comes to lighting and exposure. My methods have slightly changed to make sure I’m grabbing the image needed according to the color space that I am working with at any given time.
Though the word ‘bit’ is also used in this term, Bit Depth actually describes something completely different. Bit Depth, aka Color Depth, describes the amount of information stored in each pixel of data. As you increase bit depth, you also increase the number of colors that can be represented. In the case of an 8-bit RGB image, each pixel has 8-bits of data per color (RGB), so for each color channel the pixel has 28 = 256possible variations. In the case of a 10-bit RGB image, each color channel would have 210 = 1024 variations.