Angelo Lorenzo
Forum Replies Created
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Which version of FCP? X can ingest it natively, while 7 will strongly benefit from being converted to something like ProRes 422 or 444. If you aren’t comfortable with FCP’s log and capture then check out https://rarevision.com/5dtorgb/ for batch conversion.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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My 5Dmkii is with my partner on a shoot, but I don’t see an issue. If it’s in live view it should display what you’re seeing with some blackout while the still is being recorded.
Alternately, why not tether via usb to a laptop with lightroom or EOS utility? Both programs can tether and display what lands in a watch folder.
As a fair warning, on-set client review will slow down your day tremendously if you aren’t use to it. Not to say that all clients are horrible, but the general talking-over of numerous shots eats time quite a bit.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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The scroll bars indicate how the audio and video clips are linked; the top being video and the lower green being audio. The bars represent the full length of the source clips in the source monitor, regardless of what portion is used on the timeline. If you link media normally on the timeline then these bars overlap. If you have them linked and then trimmed down the audio in soundbooth, it’s easy to see how it could be offset that badly.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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There are a few things to consider.
1. Are you letting your monitor warm up for at least a half hour before calibration? I’ve heard anecdotal evidence that this helps improve the calibration result of higher quality LCDs because of the backlights they use.
2. I would assume your monitor is set to 6500k. If you’re not use to working on a calibrated monitor, yes they will look much warmer because consumer monitors are factory set to be very blue (~9000k).
3. What is the lighting situation in your editing room? Are you using D65 rated lightbulbs? Your eyes aren’t perfect light reading machines and can be easily influenced by the quality of light in the room and the color of objects around your workstation (if they’re large enough). I suggest daylight bulbs over working in the dark as it reduces eye fatigue.
4. Have you taken any image to full printed output with a calibrated printing service and seen huge mismatches? Again, this qualitative test is best done if you have D65 lighting.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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https://www.videohelp.com/calc
For DVD, unless you’re packing the disc with extras, you’re looking at a bitrate of around 7mbps which is quite near the high end limit of DVD quality.
In regards to a 720p24 deliverable, you might have to bump it up to 7.5-8mbps using h.268 (h.264 is more efficient than the older MPEG2 and that gives the smallest file of acceptable quality) which still gives you a ~6-7gig sized file.
I prefer command line encoders as they usually have more features. I like doing 2-pass variable bitrate encoding for delivered files, and with h.264 I like setting a smaller quantization max value like 35 (I think the default is 63) as it seems to cut down artifacts.
In regards to uploading it… not much you can do to get around it. Video is big and will always be big. Try your local library or community college. Chances are they’ll be on an enterprise grade connection and upload speeds will be much more manageable.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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Edit him in what way? Editing the mask shape or adding adjustment effects to your actor?
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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Solved my own problem:
I’m going to create lanes of particle emitters and place them manually (will probably randomize z) to avoid overlap that shoot an instance of the text in a straight line and a consistent speed. Easy.
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It depends on how far out of legal limit it is. If anything, I would make sure you cap the black luma limit at 0IRE (the broadcast safe plugin can do this).
Why? North American DVD players add setup voltage to 7.5 IRE. If your black signal is below that even after it’s boosted — because it started below 0 IRE — some old tv sets can have sync pulse issues. For web? Don’t bother.
The upper IRE limit has more to do with the limitation of the broadcast radio signal and it’s not as important in the contexts you named to reign it in.
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At this point, the official answer seems to be no. Adobe Extendscript Toolkit has the ability to access and control Premiere but there is no documentation or sample scripts as to what the Javascript function calls are, if there is any.
The best I’ve done is launch a file open dialog using Extendscript
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This is a very complicated situation. First, we would need to know the color the car is currently along with the color you would like the car to be. The reason being is that it’s much easier to do a hue shift from, say, red to orange or blue to purple than it is to change color straight out from black to red for instance.
Let’s say that you want to change the color of the car from yellow to green but a shade of green that is relatively the same luminosity but not in the same hue family, like electric green.
1. Create a new solid layer with the color you want the car to be more or less.
2. Mask this new layer to fit the outline of the car.
3. Set the blend mode to color. You’ll notice that this probably get you 75% of the way there.
4. Copy your original video layer above your current two layers, add the mask and change blending mode to saturation. This will help pull the reigns in on the color and desaturate the shadows for a more true-to-life look.
5. Create an adjustment layer and copy the mask from the solid layer to the adjustment layer. Add an HLS and curves adjustment. Chances are it’ll need to be tweaked further.
This is probably one of the easier ways of doing a color change that looks good.