Aaron Neitz
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After Effects Coin
Forum Replies Created
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you’re not alone. we have a solitary Avid left in the studio, and when I have to go in there to do something I feel like throwing things and cursing. it’s HARD getting back into the rigid system of AVID after the free-for-all approach that FCP seems to take.
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no, it’s been shot 16. we got best-lite dailies on digibeta 30fps, cutting at 24fps. Now that the possibility of a theatrical release is looming, we’re considering our options based on performace vs. $
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Thanks Adam!
We shot on super-16, the new Kodak 500 stock, because simply, it looked really good. We could shoot in low light/street conditions, pushing the stock, and get beautiful looking night shots…and in daytime the grain is super fine for 16. (That, and they gave us like 40,000 free feet of it.) For the project, film still gave us that look that HD acquisition couldn’t.
There will be some groundwork as we got Digibeta best-lite dailies, have been cutting at 24fps, and will have to re-align timecode as FCP still has a timecode relationship to the 30fps world.
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Lacie is unreliable! We’ve lost 2 Big Disk Extreme whatevers…. G-Raid has been good to us – zero problems in the last 12 months of heavy use.
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So this is a batch capture of a finished edit?
Here’s a trick to get 29.97 with 3:2 footage into FCP as 23.98 media. Dupe a Capture Preset (like 10 bit uncompressed) and switch the frame rate to 23.98 fps. When you capture footage from Digi, make sure your IN frame is set to an A-Frame (typically on 0). When you digitize, it will automatically strip out the 3:2 frames and you’ll have nice 23.98 media (media timecode will retain it’s relationship to the 29.97 timecode on the digi). Sometimes it misses and you’ll have jitters – have to retry it again, and it seems to work best in high-end machines with PCI video cards vs. an Io.
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naw, iDVD 3 was totally fine with 720×486. 4 had problems on “best” encoding. 5 just doesn’t work.
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1 problem: the new machines have PCIe – so any cards you buy for it will have to be PCIe compliant, and any old cards you have just won’t work in it (we have all these fibre cards, blackmagic cards, etc…)
We’ve decided to wait to see what happens instead up upgrading to any of the new G5’s. Chances are the intel boxes will be faster, but they’ll also have bugs and problems with universal binaries and all that jazz. FCP 5 is stable on the current G5 platform – and that’s worth a lot right there.
Heck, you got the money, no reason not to buy a Quad.
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This is problem we have with 720×486 movies: iDVD fouls up the field order. I had to even go another step in Compressor and force it’s mpeg-2 settings to “Lower” fields and not “Automatic.”
You don’t necessarily have to export a QT, you COULD “export using compressor….”
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1) make sure you’re on FCP 5 – 4.5 wasn’t good with huge projects
2) GET OFF THAT LACIE! You’ll find multiple threads in here about those Lacie Big disks burning out and failing on people. We’ve lost 2 of the same model you’re using.
3) Break off the film into 1 hour cuts if you can (maybe even a project file that’s just the digitized footage, and open subsequent projects for each reel. Keeping the project with the media open concurrently to pull from it). We’re working on a 1.5 hour feature, the project file is around 230 MBs, and takes 5-7 minutes to load on a maxed out G5/XRaid setup. It’s also starting to slow down (like 4 seconds to delete a clip). But it IS stable. Deleting old cuts/sequences of the reels speeds it back up. It’s almost like every little event or object needs some allocation in RAM, even if it isn’t open or being used.
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Make sure the “anamorphic” flag is checked in your bins for the media, just drop it into a regular DV-NTSC preset sequence and it’ll automatically letterbox.