Aaron Neitz
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After Effects Coin
Forum Replies Created
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It’s because our eyes are used to the 60hz cycle, and 50hz seems to shimmer. When I work in the UK in PAL I see the the same shimmer as I do working in PAL in the states. If you’re working in 24fps 1080 in the States on a CRT (like a Sony BVM) it shimmers too because it’s essential a 48hz display.
Back to the topic, though…. There IS a mismatch between the HMI light cycle and your tape. The same thing happened to me wokring on NTSC tape shot in the UK under sodium arc lighting.
I think there might be an effect in After Effects… I know there’s one in Flame/Inferno. It basically takes a series of frames and color corrects each frame so the luma is (mostly) even. lemme see if I can figure it out again….
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How much did it drop? Was the deck outside? Could have been frost formed inside… like when you come outdoors and have to scrape your car windows…. .
Give it overnight @ room temperature… and then turn it on for a good 20 minutes so the electronics warm up. I don’t know much about the insides of a tape deck, but *severe* cold might have cracked some plastic/rubber bits of the tape path?
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Yeah – that 98% thing was a FCP 4.5 issue. They finally solved it in 5
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delete prefs and restart
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he’s probably running 5.1.2
you’re probably running 5.1.1 or loweryou can’t go back. so time to upgrade
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You can get a HD Blackmagic card for, what, $500? Then you are guaranteed to have a professional SDI signal to feed that monitor.
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This is all very true.
BUT if you read her post carefully they want to keep this round “affordable.” You can’t go back and recapture uncompressed HD without spending a fat chunk of $$ on an ultra fast RAID. In the practical world, DVCPRO-HD from HDCAM will look stunning and be completely acceptable.
If you’re not going back to film, doing effects work, doing crazy color correction, or are otherwise working with clients who can’t afford a full blown HD finish to being with – you can make this tradeoff in codec and get results that will make you pleasantly surprised. Like Walter Biscadi is always saying – they work in DV-HD all day long and their clients and the networks are extremely happy with the finished product. If we could all afford it, we’d do 10 bit 1080 4:4:4 on a daily basis…
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You could go back to the HDCAM deck no problems. Feed SDI from the Blackmagic right into the HD-SDI on the HDCAM! You’ll never go back to that pesky 1400 deck again.
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I wouldn’t transfer my film to a DV-PROHD tape (that’s what I’m assuming you mean? The same thing that a Varicam uses, right?)
Transfer to HDCAM, or better yet D5, so that there will be a high quality telecine tape available in case you really need to go back to it. But honestly, DVCPRO-HD looks stunning. No it’s not designed for finishing feature films, no it’s not great if you need heavy color timing, no it’s not ideal for greenscreen…. but you’d be hard pressed to tell the difference between it and uncompressed for any practical purpose.
For instance, load something from Digibeta uncompressed. Now load that same clip at DV-50. It’s pretty much the same quality you’re going to see in HD. Unless you crank the color corrector – DV50 looks really sweet.
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May I suggest editing in DVCPROHD @ 1080/23.98? It’ll look BEAUTIFUL coming from a HD deck SDI into the BM or Kona card, and unless you’re finishing for a filmout or a Blu-ray release, it should have plenty of fidelity for you. I’m sure Walter will totally recommend this to. PLUS you can work off FW 800 drives.
You’ll need a LOT more horsepower than two striped Sata drives for uncompressed HD. Besides it’ll eat up TONS of room and doesn’t make sense for editing.