Andrew Rendell
Forum Replies Created
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I haven’t done any 3d yet, but I’ve been to a 3d seminar by Sky (I haven’t been impressed by much 3d film yet, beyond the initial wow factor, and I think we’re going to have to reassess how we cut for pacing, but football is brilliant in 3d!).
They’re doing it by combining the left & right feeds into one 3D HDCAM-SR tape, cutting on FCP and/or Avid with a stereo tv in the suite, then taking that cut into their online system and doing all the grading, convergence, etc, in there (not in FCP/Avid).
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“Next old effect to be revived will the the A54 Abekas 8-box spinning video cube of doom!:-)”
aaaaaaaaaaargh! nooooooooooooooooo!
mind you, retro effects are pretty cool these days: I’ve just done some Thomas Crown Affair type multiple boxes for a doc
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I select the bit I want, export it as a quicktime and then use the “one step DVD from movie” feature in iDVD to burn a disc. Not quite as straightforward as what you want, but not far off.
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I’d look at the bigger picture before jumping at one of those options. What software are you going to use? If you’ve already got software you should see what hardware is going to work with it. If you haven’t, be aware that professional video is dominated by FCP (which is mac only) and Avid (which is available for both mac and pc), but if you’re not worried about that there are a few others like Adobe’s Premiere, Sony’s Vegas and Grass Valley’s Edius.
AFAIK the Avid hardware only works with the Avid software (although I might be wrong) and an Adrenaline box at $299 is going to be an empty box that will need cards putting in it (at much more expense).
There’s another way to look at this as well. I use both Avid and FCP but I don’t own any VTRs as I find it better to either hire an appropriate deck by the day or use a local facility to digitise from tape than to actually own them myself and potentially spend loads of cash on a roomful of kit that might end up only ever being used once.
Sorry if that’s not particularly helpful, but I’d rather guide you towards making your own choice in an informed way than tell you to get x, y or z, which might turn out to be the wrong choice for you in the long run. If I were you I’d look at the packages that resellers put together as a way of seeing which hardware and software goes together (it’ll be quicker than going through manufacturers web sites and amassing a load of technical information).
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Try sending the shots to Motion and use the Pixellate filter.
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[David Roth Weiss] “Unfortunately, nothing there really explaining FCP’s h.264 issues.”
Well, it does kind of explain how come Quicktime is so good at playing back h.264 files.
If you look at something like this: https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC you can see where issues might arise, e.g.,
“Using previously-encoded pictures as references in a much more flexible way than in past standards, allowing up to 16 reference frames (or 32 reference fields, in the case of interlaced encoding) to be used in some cases” -
The first thing I spotted is that in the first screen shot you’ve got a frame size for 720p but below it the pixel aspect ratio is PAL CCIR601 which is non-square pixels. That might not be the only issue, but it’s not going to help – it should be square.
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It’s a bit of a “how long is a piece of string” type question. It rather depends on what you’re trying to achieve: if you have a relatively simple programme and you’re just after making sure that the levels are legal and the colours are reasonably well matched between shots, it could be as little as 3 to 4 hours; if you have layered effects, badly colour balanced source material and/or want to be creative with the way the programme looks you might spend 2 days on it.
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Quantel’s factbook isn’t specifically about errors but is a great general glossary, here:
https://www.quantel.com/repository/files/library_DigitalFactBook_20th.pdfI’ve had some good technical stuff from test gear manufacturers in the past. What I’ve got is a bit out of date now, but if you search through the websites of Tektronics, HardingFPA, etc, I expect that you’ll find useful stuff there (in fact, now you’ve reminded me I’ll probably have another look myself).
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It’s not so much a question of what gear you used as how you used it…
There’s just a chance that some smart use of compression and eq might save the day, but you really need to go to someone experienced to get it done. Even then, if there’s a lot of ambient noise on the track it may well not work and even make things worse.
If you want to have a go yourself, you’ll need very high quality monitoring in a very quiet room and to listen very critically as you slowly adjust your settings. When it sounds right, take out half of the correction that you’ve just put in as you’ll almost certainly have over done it. Then if you’re like me, you’ll probably take what you’ve just done and throw it away anyway 🙂
Good luck.