The Producer's Report #125 - The Path to Picture Lock

Ian, Nate and I met this morning to review the input we collected from the v.14 test screening. It was a great discussion and we made a lot of decisions about what we want to do to achieve picture lock. Some of the ideas that people suggested were amazing and we're looking at how we might implement a few of them. But, have no fear, we are moving with all speed to wrap things up and get to picture lock ASAP! Ian is leading the charge, so if he contacts you, please help him any way you can. Thank you!

Two additional things we need help with are:

We need an Adobe Creative Suite (CS3), Production Premium (Windows) expert to help us understand a certain issue we are encountering when we render out AVI files. Currently, if we play the Premiere timeline, or send it to Encore to burn a Blu-ray, it plays fine. But if we render out an AVI file, we find that there is a half frame of an unrelated interlace image appearing on screen between shots. It's weird. Do you know anybody who could help us figure out why this is happening?
We are now looking for a colorist to help us with the color grading of the movie. We have tools to aid in this process, the Magic Bullet suite of color tools and the Black Magic Ultrascope (see image above). Would you be interested in earning a credit in Project London as the colorist? Please contact me directly to discuss, by sending me an email at phil@projectlondonmovie.com.

That's the news.

Cheers,

Phil McCoy, Executive Producer
on behalf of Nathan McCoy (left), also Executive Producer and Phil McCoy (right)

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Comment by Ikulynd McSulla on September 21, 2010 at 1:14pm: I've been trying to get Adobe after effects but I just don't have the money...........

Comment by Andrew Bellware on September 19, 2010 at 6:50pm: I'd try the frame sequence export. I'm trying to remember if Premiere will accept frame sequences -- it might. If you export as lossless frames (I was being insane before -- we were exporting Planar RGB .avi files, if you do a frame sequence it would be .tif or .tga most likely) you can bring the frame sequences back into Premiere either directly or by bringing them into Quicktime pro and exporting the .avi in a codec you like.
Believe me, I know the process makes you want to throw a monitor out of a window but eventually you'll find what works for you.

Comment by Phil McCoy on September 19, 2010 at 3:47pm: Andrew, thanks for the advice. We shot Canon 24F which is a pseudo 24P and if you have the right capture setup, it can be captured 24P. We didn't have that. We used an HDMI to HD SDI converter that was then fed to a Black Magic Design capture card that can only capture at 29.97 interlaced. Not ideal. But it's our reality and we are dealing with it. So we want to be able to successfully export a native spec AVI file.

We have yet to concoct our troubleshooting regimen, but it will certainly include deleting the temporary render files and re-rendering new ones.

Comment by Andrew Bellware on September 19, 2010 at 7:58am: I found I had to output .tga image sequences in the Planar RGB codec (I think it was .tga) in order to get my movie (Solar Vengeance) out of Premiere. Then I ended up re-assembling the entire picture in Final Cut Pro after wrapping the sequences in Quicktime wrappers. That's probably not what you want to hear. ;-) But it was the only way I could get the whole movie out of Premiere.
I'm not familiar with your particular problem though. Are you exporting to an interlaced format when you shot in progressive? Or vice-versa?
Or are your transitions the problem? If that's the case just delete all the temporary rendered files and re-render.

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