FOCUSING ON NONLINEAR FOR FILMLOOK®

Spring '97

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If you have a news item for the FILMLOOK Newsletter, please call us at (818) 845-9200 or E-Mail us at lookinfo@filmlook.com and we'll get it in our next issue.

Certainly part of the appeal that nonlinear editing has over traditional on-line is the freedom to create and re-create different versions of a production as fast as you can click a mouse. The best output from most nonlinear editing systems is very comparable to a regular on-line session, and the price of a complete nonlinear system is usually a fraction of the cost of a complete on-line suite. FILMLOOK is therefore the perfect complement to nonlinear since it can add a tremendous measure of production value to your nonlinear video project at a fraction of the cost of film. However, it is essential to understand how critical good video and careful planning are when posting nonlinear with FILMLOOK in mind.

FILMLOOK can work from a list of video selects before inputting to your system, but we can also work with a completed video provided that certain guidelines are adhered to. One common mistake is not digitizing good video when logging clips for a nonlinear edit session. During a traditional on-line session slight tweaks in video levels are common to maintain acceptable broadcast standards as well as correct small color imbalances between two camera angles. It is very critical to maintain good levels (peak video at 103 IRE or less, pedestal at 7.5--no lower) since the A/D converter in the nonlinear system will clip hot video and crush blacks if ideal levels are exceeded--even if the original video masters were beautifully shot to begin with. As a result, once those details in the highlights and the low areas of the video are gone, there is nothing that can be done to recover that lost data--short of inputting the video again at proper levels.

Also, it is easy to have bad color or contrast levels if the computer monitor is maladjusted. If your final product is being recorded directly from the nonlinear system, avoid making critical judgements on color and contrast levels if the monitor (or if the lighting environment it is in) is less than ideal. To eliminate these potential problems, we strongly recommend using a broadcast waveform, vectorscope and looking at the final image on a carefully adjusted broadcast monitor to assure that proper video levels (and hue adjustments) are maintained.

It is important to input video at the mildest compression ratio practical and to output video at the highest resolution possible for later FILMLOOK processing (AVR 75 on the Avid) since this will yield fewer digital compression artifacts. Also the final video must be full-motion rendered at 60 fields per second in order for FILMLOOK to process your project correctly. As far as including effects such as DVE, CG or computer animation, please consult with us prior to finishing your project.

Finally, it would be helpful to record SMPTE bars and tone prior to program as well as continuously ascending time code for the duration of the video. This will guarantee that proper video and audio levels are maintained for the highest quality FILMLOOK transfer possible.


13 BOURBON STREET PREMIERES IN FILMLOOK

NEW YORK--Fox Nighttime Productions has created "13 Bourbon Street," a moody and sensual nighttime drama recorded entirely in video and processed in FILMLOOK.

The pilot episode was videotaped at Kaufman-Astoria and Lifetime studios in New York using the latest broadcast Ikegami digital Betacam cameras. "13 Bourbon Street" is a proposed biweekly series that will be shot, filtered and lit single-camera style. The series is slated to premiere on the Fox network this summer.




COLD CASE OF FILMLOOK

HOLLYWOOD--Tim Johnson Productions and CBS have produced "Cold Case," a pilot hosted by Richard Crenna that was shot in video and processed in FILMLOOK. The show features re-creations of actual unsolved police cases shot in video on the actual locations where the crimes took place.

The series is also using a web site (www.coldcase.com) to provide viewers with crime photos, autopsy reports and interviews with police investigators. Viewers are provided with an opportunity to correspond with the investigators and provide clues to the unsolved cases. "Cold Case" (the pilot) will air April 19th on CBS.




STANDING WITH FILMLOOK

NEW YORK--Wife n' Kids Productions has produced for HBO "Damon Wayans--Still Standing," an outrageous comedy special featuring the actor-comedian whose recent concert was shot in video then processed in FILMLOOK. This is the second comedy special for Damon that was processed by FILMLOOK.




FILMLOOK'S WITCHCRAFT

HOLLYWOOD--Vista Street Entertainment has completed post-production on the horror movie "Witchcraft IX--Bitter Flesh," a feature shot in video and processed in FILMLOOK®. The direct-to-video feature is the latest sequel to the "Witchcraft" series, and is the first to utilize the patented film simulation process. Also, Concord Pictures has utilized FILMLOOK to process the sexy thriller "Stripteaser II," another direct to video feature. This also marks Concord's first venture into shooting features on video and processing with FILMLOOK.




© 1997 FILMLOOK Inc. All rights reserved. FILMLOOK is a registered trademark of FILMLOOK Inc.

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AMI REAPS TELLY

DES MOINES--American Media, Inc. uses the FILMLOOK® process to produce the best videos possible for their clients. Their FILMLOOK productions have won a total of eight awards to date including a silver Telly, a Gold Cindy, a Crystal Communicator, and gold Aurora award. The film simulation process provides a way for American Media to give their clients film quality without the high cost.


PSA CONGRATULATIONS

FILMLOOK congratulates producer Michael Silver who recently won a San Jose National Education Media award for "Best PSA of '96" for "Safer Sex," a PSA commercial shot in video and processed in FILMLOOK. We salute Michael's accomplishments and look forward to processing the sequels to his award winning spot.


CALYPSO BOWS WITH AWARDS

NEW YORK--Since its completion in the spring of 1996, the independent feature "The 53rd Calypso" went on to win a number of awards at New York University's First Run Festival, where it was the only project shot on video and processed in FILMLOOK that competed with a group of 16 and 35mm films. "Calypso" won awards in directing, editing and cinematography, as well as the Martin Scorsese Post-Production Award.

"Calypso" has gone on to screen at the Mill Valley Film Festival and the Aspen Film Fest, and most recently won the Narrative Award at the 30th annual New York Expo of Short Film. FILMLOOK salutes "Calypso's" producers and crew for their outstanding efforts and their prestigious awards.




STOCKING UP ON FILMLOOK

Some film shows and commercial agencies that have recently used FILMLOOK for video originated shots and productions...Early Edition, NASA Space Shuttle selects...Associated Television, Browning Rifle spots...Dauro Advertising, Cadillac Catera spots...Beantown Productions, ABC Saturday Morning Preview...The Tonight Show, Vegas title sequence and new "Leno" opening...CBS Promos, Dr. Quinn Medicine Woman contest...Cohen Latino Communications, Union Bank spots.




FILMLOOK OPERATES ON GH

LOS ANGELES--ABC television recently featured a special prime time episode of the hit soap opera "General Hospital," shot in video and processed entirely in FILMLOOK®.

"General Hospital--Twist of Fate" finally resolved the mystery of Laura Palmer's death. The special episode was mostly shot single-camera style and recorded on Betacam equipment.