Tape to film hint: Give your frame some breathing room

By Greg Pak
When shooting for a tape-to-film transfer, be sure to give your frame a bit more breathing room than you might otherwise. A little bit of the edges will be cut off when the tape is transferred to film. And a bit more will be cut off when you transfer from your negative back to video. The upshot is that if you’ve shot too tightly, you might see cut off chins and shaved heads, which can be claustrophobic and unpleasant.

Marlon Brando, In Memoriam

By Greg Pak
Marlon Brando died yesterday at the age of eighty.
There’s a scene in “Streetcar Named Desire” in which a feather from Vivian Leigh’s boa floats past Brando’s line of vision in the middle of one of his lines. He keeps talking, but he bats at the feather it as it passes. It’s a beautiful little moment. Incredibly simple. But I can’t forget it. In that instant, Brando incorporates the world into his character. Nothing could happen — no, anything could happen, and it would fit, because Brando is letting everything in the world be part of his character’s world.
A similar moment comes in “The Godfather,” when Brando’s holding that now legendary little gray kitten. There’s one instant in particular which stands out for me, when the kitten bats at Brando’s hand. And again, he acknowledges it, accepts it, incorporates it seamlessly.
It occurs to me that both of these moments are somehow connected with play. Brando plays with the feather; the kitten plays with Brando. Even more specifically, the moments are about the instinct behind play — the primal impulse we all have to follow moving objects. That’s significant. Because while the profession of acting requires us to suppress a subset of our instincts as we hit our marks and remember our lines and screen out distractions, the scene only comes to life if we follow our instincts within the reality of the scene. So Brando, and all good actors, regularly performs tiny miracles. They screen out the boom overhead, the light in their eyes, the huddled crew, the weird fakeness of the set, the strangeness of their makeup — and they allow in the feather and the kitten.
For anyone interested in learning more about Marlon Brando, I recommend first, seeing his movies, and second, reading Patricia Bosworth’s excellent little biography entitled, shockingly enough, Marlon Brando.

Deck settings for using an AJ-SD930 with FCP

By Greg Pak
I’m working on a short film which we shot using DVCPRO50, which I learned we could edit on my G4 533 MHz dual processor machine, provided I upgraded to OS 10.3 and Final Cut Pro 4.5. Which I did.
The next challenge was getting the footage into the computer. We rented a Panasonic DVCPRO50 deck — the AJ-SD930, which can be connected to a FCP system via Firewire. But for some reason I couldn’t control the deck via the Lo and Capture screen. And I couldn’t see digitized footage through the monitor.
After searching the web, I found a helpful document which provided some settings. Here are the settings I’ve ended up with, which seem to work:
Audio and Video Input are set at SDTI/1394.
SUPER: OFF
REC. INH: ON
TCG: INT – PRESET
MODE: EE
CONTROL: REMOTE
Finally, to get digitized footage to play back from the computer, through the deck, and out to the monitor, the video out cable needs to be plugged into Video Out 3 (Super).
I freely admit I don’t understand all of these settings fully — I only know that at this moment in time, they seem to be working for me.

Avoiding and Dealing with FireWire Harddrive Crashes

By Greg Pak

We edited my feature “Robot Stories” using a Macintosh G4 533 MHz dual processor running Final Cut Pro 1.2.5 with eight (count ’em, eight!) external FireWire hard drives. During the six months of post production, we had a number of crises with our FireWire hard drives, including three or four occasions in which drives would crash, giving us an error message saying the drive could not be recognized and asking us if we wanted to reinitialize.
    
Now when you have five hours of footage on a sixty gig hard drive, you don’t particularly want to want to reinitialize, which would erase the drive and require you to spend a day redigitizing your footage.
    
At least twice, we did just that, because none of the disk utilities programs (Norton Utilitles and Apple’s Disk First Aid) were able to help us. But I’ve recently been able to save drives which have crashed in this way using my new favorite program, DiskWarrior.

 
Why drives crash.

 
In most cases, I have no idea why our drives crashed. At least twice, my editor Stephanie and I watched in horror as images which were playing in Final Cut Pro began to break up. Broken horizontal strips of color would flash across the screen until the images disappeared altogther. Upon restart, we’d discover the computer would no longer recognize the drive on which the media was living. We had no idea why these problems surfaced.
    
But yesterday I saw these problems crop up while I was in the process of unplugging and replugging the FireWire connection to a camcorder attached to the computer. Now theoretically, messing with the camera shouldn’t affect the drives, since I had the drives plugged into a separate FireWire jack. But I’m pretty sure the events were linked. Perhaps messing with the camera cable sent a static electricity shock into the system? We’ve had incredible static electricity in the office this winter — I suspect that’s somehow to blame.
    
At any rate, my current thinking is NEVER MESS WITH CABLES OR MOVE DRIVES when your computer is on or when you’re running your programs.

 
A success story

 
Yesterday I was messing with the FireWire cable connected to a camera while playing a project on Final Cut Pro. I glanced over and saw the tell-tale breakup of images on my computer monitor. I shut down the computer and on restart, the computer couldn’t read one of my FireWire hard drives and asked if I wanted to reinitialize. It was a 60 gig Maxtor FireWire harddrive which I’d bought in October 2001.
    
Instead of clicking “Initialize,” I clicked “Eject.” Then I popped in my DiskWarrior CD and tried to run the program. But the program didn’t list the bum drive in its menu. The drive wasn’t mounted and the program couldn’t see it.
    
It seemed like a Catch 22 — the drive wouldn’t mount because it was damaged. But the program to repair the damage couldn’t work unless the drive was mounted.
    
I tried using the Maxtor Utilites to get the computer to recognize the drive. No luck. But I was using version 3.2 of the software. I visited the Maxtor website, downloaded and installed Maxtor Utilities version 3.4. Which recognized the bum drive. And then Disk Warrior recognized the drive. So I was ran DiskWarrior, which successfully repaired the drive and saved my data. Woo hoo!
 
Lessons learned:

  1. Don’t mess with cables when the computer is running.
  2. When in doubt, download the most current software and drivers for the hardware.
  3. DiskWarrior rules.

A sob story

 
While I was out of the office shooting a short film, a couple of friends were using their FireWire hard drive with one of my computers. The drive mysteriously crashed. On restart, they got a message asking them to eject or reinitialize. Since they’d done little work on the drive, they reinitialized. But they’d screwed up — they’d just crashed MY FireWire drive and reinitialized it. Now if they’d just left things alone, we probably could have used DiskWarrior to bring the drive and its data back to life. But reinitializing the drive has put its repair beyond the ken of mere mortals such as myself. I’m now researching professional data recovery companies — preliminary conversations indicate that it’s very likely they can recover my data, but the names of the files will probably all be lost. And (here’s the kicker) it’ll cost me anywhere from $600 to $2000.
    
Ouch.

 
Lessons learned:

  1. Don’t let people borrow your equipment/computers unless you’re clear about what they’re doing and you’ve taken precautions to safeguard your data.
  2. Never reinitialize unless you’re ABSOLUTELY CERTAIN of what you’re doing. Namely, never reinitialize your drive unless you’re absolutely certain it’s actually your drive.

 

“Robot Stories” awards

35 Film Festival Awards
Best Director (Greg Pak)
Best Screenplay (Greg Pak)
2004 Festival Buenos Aires Rojo Sangre
Best Picture
Best Director (Greg Pak)
Best Actress (Wai Ching Ho)
Best Picture Audience Award
2004 Semana Internacional de Cine Fantastico de Malaga
Best of Fest Audience Award
2004 Annapolis Reel Cinema Film Festival
Best Independent Sci-Fi Feature
Best New Director
Best New Film Audience Award
SF Hall of Fame Inductee – Greg Pak
2004 Boston Sci-Fi Film Festival
Special Jury Award
2004 Yubari Fantastic Film Festival
Best Feature Film
2004 Sci Fi London International Film Festival
Best Screenplay (Greg Pak)
Best Actress (Wai Ching Ho)
2003 St. Louis International Film Festival
Most Original Film
2003 Marco Island Film Festival
Best Film
2003 San Francisco Korean American Media Arts Festival
Best Feature Film Audience Award
2003 Michigan Independent Film Festival
Audience Award
2003 Boston Fantastic Film Festival
Grand Prize, Best Narrative Feature
2003 Rhode Island International Film Festival
Best Narrative Feature Film
2003 DC APA Film Festival
Special Jury Award for Emotional Truth
2003 Florida Film Festival
Best Director (Greg Pak)
Best Actress (Wai Ching Ho)
2003 Puchon International Fantastic Film Festival
Best Feature Film Audience Choice Award
2003 Fantastisk Film Festival, Sweden
Best Science Fiction Film
Best Science Fiction Director (Greg Pak)
Best Science Fiction Actor (Sab Shimono)
Best Science Fiction Actress (Tamlyn Tomita)
Best Score (Rick Knutsen)
2003 ShockerFest Film Festival
Emerging Director Award
2003 Asian American International Film Festival
Special Jury Award
2003 Asian Film Festival of Dallas
Honorable Mention
2003 Film Fest New Haven
Best Screenplay Award
2002 Hamptons Film Festival
Excellence in Design Award
For Daniel M. Kanemoto’s opening credits animation
Association Internationale Du Film D’Animation East

Label tapes IMMEDIATELY

By Greg Pak
I recently had a disaster in which three dubs were mislabeled and the wrong program was sent to three different festivals. The big solution: When recording or making dubs, label your tapes with program information IMMEDIATELY after removing them from the machine. Great grief can thusly be avoided.

More dropping frames troubleshooting in FCP

By Greg Pak
Today I frustrated the heck out of myself trying to output my feature “Robot Stories” from Final Cut Pro to tape using my 533 MHz dual processor G4. I’d recently installed new drives and reinstalled all my software — and the sucker kept interrupting the output with dropped frames.
Eventually I figured it all out — and it was all stuff I should have known. I turned off file sharing. I disconnected from the internet. And I set the hard drive to never sleep. And it finally worked.

Fix for dropping frames on feature project in FCP

By Greg Pak
I had to put burnt in time code on a dub of my feature “Robot Stories.” Using Final Cut Pro, I nested the sequence within another sequence, applied the Time Code filter under the Video subhead, and then rendered. Then tried playing back to tape. But the machine kept dropping frames Could not figure out why. Eventually I exported the whole movie out to a Quicktime file. Now I’m playing that file by itself — no dropped frames.
I think there must be something about the processor demands of playing rendered clips which made FCP drop frames when the entire project was made up of rendered clips.

DVD projection tips

By Greg Pak
So I’ve finally learned how to make and burn DVDs on my Mac and am now screening with frequency at festivals on DVD.
A few tips for making DVD screenings run smoothly:

  • Don’t put labels on the DVDs used for the actual screening. Labels can cause some machines to stutter or fail — instead, write out your label information on the DVD directly with a Sharpie.
  • Send in your DVD early and exhort the festival folks to test the DVD on their machines. I haven’t had a single problem yet, but DVDs made on home computers may not be compatible with some DVD players out there. Verify!
  • Specify the aspect ratio of your DVD — generally, 16×9 widescreen or normal television aspect ratio. Our “Robot Stories” DVD screeners are letterboxed, meaning you see the entire film frame with black bars at the top and bottom of each screen. If the DVD is played on a projector set to 16×9 or widescreen rather than 1:1.33 or normal television aspect ratio, the image will appear stretched horizontally, as the machine squashes it vertically, adding MORE black bars on the top and bottom. Not a pretty sight. Write the aspect ratio on the DVD itself.
  • Politely request the return of your DVD after the screening. It’s generally not a good idea to let too many DVDs of your film float around in the world — no festival person would knowingly rip you off, but screeners tend to drift and you don’t want to get pirated.