Angelo Lorenzo
Forum Replies Created
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If I’m not mistaken, OnOne’s DSLR remote only shoots stills while monitoring live view. I’m not sure of Canon’s EOS utility since I haven’t used it in many moons.
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Is your friend doing the transcode? Have your friend render out ProRes HQ as the MOV codec. You’ll need to download the ProRes decoder https://support.apple.com/downloads/Apple_ProRes_QuickTime_Decoder_1_0_for_Windows if you’re running a Windows machine or https://support.apple.com/kb/DL1 if you’re on Mac.
Should work within CS3 just fine if I recall correctly.
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Strange, yesterday I exported an OMF with embedded audio for my sound guy and he had no issues with in Protools either.
Maybe it’s worth posting your timeline settings or the exact error Protools/Avid is giving you.
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Are you tweaking the key in hopes of keying the yellow tracking markers or are you using an inner matte/garbage matte? If not, give that a try and liberally dial down the strength of the key just for the green. That may give you a better automated key.
Yes, ideally you’d want to track holdout mattes for all the photos on top and then just concentrate on keying the edges of the green. What seems like more work now will probably be easier in the long run.
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There was an error in my troubleshooting. It looks like both EDLs (display timecode vs display frame number) look perfectly fine.
I’m not going insane, since I’ve used EDLs a number of other times in all kinds of applications.
I tried testing the one offending clip in a 23.976 and 24fps timeline, and even with a simple one clip EDL, Speed grade adds a 100.5% time stretch to the clip.
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The problem was fixed, however when I set Speedgrade to interpret the EDL as 24fps and the footage as 23.976.
The footage originated from a RED Epic shot at 24fps with a timebase of 24fps…. I’ll have to check and see if there was a dropped frame issue or, if during the transcode process Redcine-X interpreted the timecode as 23.976… which would be a bug on their end.
A little more troubleshooting awaits.
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I would ask the manufacturer directly. Thunderbolt is now just being built into PC motherboards so the biggest wall is proper driver support within Windows 7. As far as I know, hard drives and displays work decently but features like hot swapping aren’t supported yet.
This, of course, is contingent on if Parallels is passing access to the Thunderbolt port to Windows programs.
Angelo Lorenzo
Fallen Empire – Digital Production Services -
Wireless HD video is still very much in its infancy. I wouldn’t be surprised, without some trade offs or interesting engineering tricks that you won’t see what you want in this or the next generation of smart phones.
The most field tested piece of affordable equipment is the Teradek Cube https://www.bhphotovideo.com/c/product/800190-REG/Teradek_CUBE_250_450_Cube_250_450_HDMI_Encoder_Decoder.html
You’ll want to bundle that with a field monitor like a 7″ battery powered Marshall.
Angelo Lorenzo
Fallen Empire – Digital Production Services -
The nice thing is Premiere gives you options. This is probably why you’re getting “conflicting” statements. I think an ideal workflow for you is as follows:
1. Use a 24p timeline, since this is your output then setting your timeline to this means your footage will conform to this.
2. Import your 24p footage as normal.
3. Import your 60p footage. Now for the fun part, for each 60p clip in your media bin/library, hit copy/paste so you have two instances of it, interpret the second instance as 24p and this gives you 250% slow-mo
4. Drag the 60p footage onto the timeline. 60p interpreted as 60p will be real time, and Premiere conforms the frame rate to maintain duration. I would suggest NOT using frame blending as it’s fairly rudimentary and only looks good when speeding up footage, not slowing it.
A better way of conforming would be to pre-process new 24fps clips in something like After Effects using their Timewarp plugin (based off of the Foundry’s Kronos so it’s better than nothing) or a third party effect like Twixtor.
When people say they like the 24fps look, you’re really talking about not only the frame rate, but also the motion blur. 60fps, even though it drops frames in a very even amount will never look like 24fps footage unless the motion blur is interpolated, thus my suggestion to use Timewarp or Twixtor.
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Is there a reason this agency doesn’t have an FTP address and credentials for you to login and upload directly?
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The answer is most likely a resounding no.
1. Music will be mixed across all frequencies, you can’t isolate using eq
2. Games playing out stereo will probably use pseudo surround with some reverb. You may be able to do a center extraction for a voice, but less likely for sfx.