Al Bergstein
Forum Replies Created
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Likely so. That’s what I thought too. We’ll see how it comes out. For now, I’ve simply chosen the “fit to frame” functionality, and will try rendering it out later.
Al
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Right, I understand that, posting is hard to communicate properly.
I’m also on W7 64bit. While there is a place to check for upgrades, there is no place, it seems,where you can see what upgrades have been patched to your system. I am running 5.5.2 (but can’t see when .2 was applied). It appears that Adobe does not create a restore point when it installs an update.
My About CS6 says I am currently running 6.0.0 (319 (MC:264587))
I don’t know if 319 is the build, and if so, what I was running yesterday, nor why the updates of this AM didn’t add some info to let me know what it updated. Maybe by documenting it here I can check to see if it changes. What is your build number on 6?Al
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When I turned on my machine this AM, and started Adobe CS 6 suite, there were updates from Adobe. A series for all the products (though maybe these came out a few days ago??). I just installed the suite earlier this week, it’s possible I didn’t say yes to initial updates after I installed, but I did use the suite yesterday without being asked to update, and this AM it did. How do we check on Adobe updates applied to the machine?
Al
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After applying today’s patches from Adobe, the sequence from yesterday works fine, no flipping or black and white. Not sure whether the patch fixed it, or something else. Has anyone else seen such a bug?
Al
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New updates from Adobe for most of the Creative Suite. I’ll apply the patches and try again after my deadline passes. Fell back to 5.5 with no problems on the same footage yesterday after a couple of hours.
Al
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Thanks! A couple of final questions:
1. When I do ‘scale to frame size” I still get an error message with Warp Stabilizer (this is aerial video from a plane), that “Warp Stabilizer requires clip dimensions to match sequence”.
So what is the correct way to do that? Do I first run a single sequence with the native 1280×720 footage on it, stabilize it with Warp, then import that new clip into the master sequence?
2. If so, do I run warp, then export to as 1920×1080 MXF file (which would match the master sequence?)
3. If not, what would be a different way to accomplish getting the clips warped?
Thanks in advance.
Al
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Just to be clear, I can right click and choose “scale to frame size” but I am unclear if whether I should then render the clips (they are currently red in the timeline), or something else…
thanks in advance.
Al
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Happened to see this while in the midst of some other stuff…what is the format you are using? I’ve not had any corruption happen on CS 5.5 with AVCHD, MXF or other file formats. But I use very straight forward documentary kind of work, with little effects. I’m at a loss about what could be different with your workflow. How complex are these projects? Tons of fx? Third party add ons? etc. Did it ever work?
Al
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Paul, while I don’t personally have experience with these cameras, what I would say is that they are both in the range of “consumer” or “prosumer” cameras, not broadcast. You need to spend time researching what it is that makes a camera “broadcast capable”. There are certain models, that tend to be starting in the $5k range (USD) that seem to be able to produce broadcast quality, and they are from all the major manufacturers. I would save up to get to the threshold rather than risk not getting the output. Obviously, some footage is compelling enough that it might be used dispite not making the grade, but without a buyer in advance, you risk spending a lot of time and money and getting unique footage that might be unusable for your expected clients. There are people who do sell non bc footage to these outlets, but it is a tricky business and you should explore this more. For my sake, I simply decided to upgrade the camera rather than risk not having the right footage. The camera is a small portion of the budget you will be spending to make a film. Too many people get hung up on the gear, it seems to me. If this was for the web, it really would be much easier.
I am unfamiliar with the needs of SECAM. Perhaps others on the board are.
Al
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Rachel. I shoot long events like stage productions (you can see my work on vimeo at
https://vimeo.com/mountainstone)I have both a 7D kit and a Canon XF305. I would never use the 7D for what you are describing. Been there, done that, and all the reasons you give are accurate.
I use the xf305 for most all my stage events, and am considering a xf100 to add to it, where I would use the 100 for the long establishing shots and the 300 for tight close ups. You can boost the gain on these 50 mbps mxf files and get pretty low light. (you should rent one if you are near a major city). If you need true really low light, they should be paying more and getting an AF100 or Sony 100 for interchangeable lenses. The 7D is a dead end for what you are shooting, and they are wasting their money on one. Heck if they want a 7D kit that bad, I’ll sell them mine!
I have occasionally used the 7D for what you describe, when I am doing B cam shots (close ups, etc.) but even then the 12 minute limit is a problem, and yes, the cards can fail. I’ve not had any heat problems (I did with the T2i) but I don’t live in a hot climate. The DOF is great with it, but for what you describe, it is usually not needed. Then add that the color under low light can end up being very muddy with the Canon MOV codec on these cameras. The MXF holds up to grading back from low light very nicely.
They may want to buy one of both, and see which one gets used!
Best of luck. If they want to chat real time, you can email me and I’d be glad to talk to them for a few minutes.
Al