Aaron Neitz
1
After Effects Coin
Forum Replies Created
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Thanks Shane. I moved the files on the drive to reflect that structure and it worked.
Now to figure out where the pesky bug is.
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[Michael Aranyshev] “Just thirty per cent? The recent fashion trend is to cut video-assist footage. I did four features of 100% eye-matching conform.”
AH!!!!! Tell me you’re kidding?
It’s definitely been getting worse. Just when you started to get a handle on reliably reconfirming RED then comes along a dearth of 5/7D footage.
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You A1 is probably hidden WAY down below target A18.
Try clicking around in the Source area and see if you can get it to pop up. Or insert audio tracks till you find it and drag it back up.
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If your video is final AS-IS simply lay off directly from DV timeline to Digibeta. Aja will take care of those 6 pixels. ProRes won’t buy you anything at this point.
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Correct on that. Sorry didn’t get back to you in time.
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EDL does not natively have Lab Roll. That’s something you have to add as a “comment” in your EDL’s (select a master clip, figure out what roll it came from, add it to one of the comments fields)
Typically a telecine house doesn’t need the lab roll. If you shot less that 24 rolls, and your dailies were done right, then you should have 24 unique timecode hours in your media that relate to up to 24 rolls of film. All they need is a regular EDL with timecode!
But if you shot more than 24 rolls:
Lab roll could refer to a couple things depending: it could be the camera roll number (A1, A13, B4, C3, etc…). OR it could be the “lab” roll which is typically 3 camera rolls spliced onto a bigger roll of negative for 35mm.
Sounds like, especially since they are looking for the take, that there are a lot of rolls of film.
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The two absolute worst companies at this: Jiffy Lube and EZ Lube. I don’t patronize either anymore after too many years of telling the guy “no, I DON’T need XYZ done.”
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partial answer: it’s just like getting a *real* certified Dolby encode for theatrical (or DTS or whatever). you need to find a lab that can specifically format your film into the D-Cinema standard. We looked into it for a theatrical screening an I believe the quote was about $10K for a 90 minute piece.
End of day we ended up screening a HDCAM-SR over a 2k Barco projector. It looked pretty freaking stunning on a very large screen. I know this is a very popular method for film festivals where filmmakers have already broke the bank.
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You should actually be speeding them up to 250% (if they were shot at 60, you’re FPS was re-conformed to 23.98). Turn off frame blending. Then it’ll be playing in real-time.
also you can go into Cinema Tools and re-conform the FPS flag to 60.
Just be aware that it WON’T ever look like it was shot in 23.98. 60fps plus a higher shutter speed gives you that “soap opera” look
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Export one to the other’s format before you start editing. Takes time, but saves time and frustration later.