Aaron Neitz
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After Effects Coin
Forum Replies Created
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Mishka’s right – that’s the best way….
However, if for logistical reasons you have to do #1 – we just output an entire feature to 35mm via this method and it looks pretty damn good. Super-16 to D5. Color graded in 1080 on a Da Vinci. Scanned back to 35mm. Just saw our final composite print w/ dolby 5.1 projected at Fotokem yesterday. It was an awesome solution for an indie feature.
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I’ve asked this myself, and never gotten an answer that seems definite. However our specs for action/title safe from ESPN for commercials is the standard percent as in SD. So FCP’s safe lines are accurate.
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sweet!
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The same rumors were abound last NAB.
But, yeah, more than likely.
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The same rumors were abound last NAB.
But, yeah, more than likely.
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That’s always the case with the NAB announcements…. you get excited as all get out, and then wait for 4 months before anything ships.
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Ok, well I’ve discovered the standard Hz for most LCD/Plasma monitors is around 60. And I think the same goes for the Apple Cinema Display…. and the HDlink does automatic frame repeating to turn 23.98 into 59.97 fps.
Yes, anyone? The BM documentation is a little thin on these details.
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Duplicate the 1080p/23.98 capture preset…. go into Edit. Change FPS to 29.97/30. I bet it’ll work just fine.
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I’m with you… I’ve been finish a lot of smaller projects in 8bit – less headaches and problems with color. But not only that, I really HATE the color correction options in Final Cut. And a lot of the 3rd party plugins I don’t care for either. . . Now if they could get a Discreet style CC in there, that’s make me very very pleased.
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4k is such a specialty resolution – I doubt 1 person in 1000 FCP users would even begin to have a client that needs it. That’s the realm of ultra budget feature films and Imax.
But it would look pretty freaking amazing. Imagine a 4k DLP in your screening room….