Aaron Neitz
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After Effects Coin
Forum Replies Created
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It’ll also take up your entire hard drive…. If you’re just installing core applications without all the audio loops and nonsense install only takes 20 minutes or so
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Ah, I see
I see this on downconversions too. It’s a function of that strong primary color, white type, and hard edges. There’s probably some YUV maths involved in going from a 4:2:2 HD space into a 4:2:2 SD space… That’s why Photoshop does such a good job – it’s pre-sampling your HD as 4:4:4 RGB.
Did you try letting Compressor do a downconvert? Or dropping the HD timeline into an SD with Best rendering?
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that’s a codec that only comes with Final Cut Studio…
Compress and send them H.264
or go through the lengthy process of finding the DVCPRO QT components on your system, emailing them, and having your client manually place them in the QT component directory
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Also like I asked earlier, are you certain you have broadcast safe titles?
The only reason I ask is on an old project for HDCAM-SR which we were peaking at 110 (this was for filmout, no broadcast safe needed to be adheared to) any downconvert to SD showed a weird ghosty/ringy quality in solid graphics and gradients. Disclaimer: this was using a Blackmagic card
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Now I’m confused… you said you were using Kona LHe or Kona 3?
Can you digitize a digibeta that you made with these ghosted text and post a still image for us? I think that’ll help tremendously.
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Correct. You can hit ENTER on Minolta, and it simply takes you to the D65/D95 calibration selection screen.
In *my* studio we have 2 BVM monitors, they both display a list of 5 probes. I’ve told them they’re going to have to track down the engineer who serviced this one. I’m lost.
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No, that’s just the thing… the only one left in the Probe menu is Minolta…. I don’t know how they were able to remove the other probes….
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1) clips. Every unique clip/quicktime adds weight. I found this out when we started on some P2 projects where thousands of unique clips were being generated. Not much you can do about this… break up projects into sets of dailies and open them all
2) cuts. keeping a backlog of every single roughcut adds up fast. When you’re moving along and know you won’t need cuts 1-25 b, rev a, version 4, agency preferred…. save an increment of your project and delete all those old cuts.
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Speed ramps?? Like 150%?
What I do with SD footage is ingest as 24fps. Have Final Cut strip 3:2 on ingest by capturing on the A frame. Then you can work in a 720/24fps timeline and the Kona with output a clean 59.94 by duplicating frames.
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I know tom, I know. I’m just really shocked and saddened and….etc.