Angelo Lorenzo
Forum Replies Created
-
It’s been around for quite a while. Rubber dolly track does the trick and there are a number of pre-built and DIY systems that look similar to https://www.hv20.com/showthread.php?9867-DIY-Flexible-track-Dolly
I’ve used them, and to be honest they kind of suck.
The other would be a fixed system and there are smaller corner pieces like this https://www.adorama.com/LBCR90.html?gclid=CMixrf2lsbMCFQ6CQgodOiMABw but these are mostly for non-standard systems… make sure your wheels fit the pipe radius and spacing for this and similar products.
Storing curved dolly track takes a lot of space and with cheaper systems you sacrifice stability for portability.
Because of minimum focus distance, any engineering has to take into account a circle diameter of at least 4-6 ft. Matthews, for instance, makes a 20′ circle and a 70′ circle.
With all that said… it’s almost always easier to use a diagonal straight move with a camera pan. Only once you have to circle 90+ degrees do you need to rely on circle track.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
It is the “gamma” problem. The Quicktime player will routinely lower contrast across the board. Lowering contrast will also lower strongly saturated colors (it’s a perceptual difference). https://vitrolite.wordpress.com/2010/12/31/quicktime_gamma_bug/ speaks the best about the issue.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
When heavily mixing formats, the best thing to do is usually to create a timeline that adheres to your most demanding output specifications; in this case you could create a timeline that complies with your DCI/DCP spec which I assume is 2k @ 24fps or some slight variation.
So what happens when you drop a 29.97fps clip into a 24fps timeline? Premiere Pro will keep time sync with audio so it will either drop frames or, if you choose, drop and slightly blend frames. The choice allows you to see what looks better for the footage you’re using. If this is a documentary with a lot of archival footage, you can probably get away with this level of conversion but other circumstances may force you to use more esoteric form of frame rate conversion by using tricks or plugins.
The other issue is deinterlacing as I’m sure some of your footage will be interlaced. The internet has plenty of tutorials, although I would jump out to after effects to do deinterlacing work.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
Premiere will up-convert any project files from previous versions. It’s usually never a problem to go from cs4 -> cs5 and so on, but nearly impossible to go backwards from, say cs6 -> cs5.
Let us know if you get any actual error messages.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
I assume you wanted to trim your project and use handles on footage? This would mean that, under ideal conditions, you end up with less and smaller files.
The Project Manager cannot trim all file types. Unfortunately, I can’t find a list of file types Premiere does trim to back up that claim. I could be A) wrong or B) someone needs to chime in with more info.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
I foresee a few issues.
From my own experience as a retouching veteran, I have a Wacom Intuous4 and I don’t use the 6 shortcut keys on the pad because they are limiting. I keep my right hand on the pen and the left hand on my keyboard.
– Whatever you do, needs to be able to recall many, many commands easily to break into the pro market as a general controller. Different program schemes are paramount for different programs, of course.
– Make the controller designed for one-handed use. Most users will at least need to navigate their whole screen with the mouse. Avoid two-handed gestures.
– Another issue is modifier keys like Alt/Control and Option/Command. If I have to mouse click and need a modifier, you’re slowing me down if I can’t use these on the control surface and I need to move to the keyboard. Perhaps reserve the far corners of the screen for modifier keys.
– Gestures are great but there is the process of figuring out 10+ unique gestures. Custom interfaces like the Mackie audio controller or Tangent Wave would be paramount for breaking into Pro Apps that use these protocols.
– Be aware of program limitations. The threeway color corrector in Premiere, from what I know of Adobe’s plugin architecture, is probably mouse control only.
– Look into similar products already on the market like “Custom Keypad” for iPhone/iPad which goes for $3.99
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
I don’t see what not. You’re advertising as an editor, not a cinematographer. If that stock footage of a truck shows your skill at replacing a logo on the side, that shows value to your client. I may put a disclaimer like “Some stock footage obtained for editing and visual effects demonstration” so they don’t think you’ve worked for huge clients if you haven’t yet.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
What program are you using for the R3D to ProRes conversion?
What us the resolution (width x height) of your footage? What is it when converted to ProRes?
Also, what is the resolution of the Premiere Pro timeline? Sounds like you may have picked a preset that isn’t quite matching your footage. This is common if you’re working in 4K HD vs 4K full frame, and so on.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
I apologize, I must have misread that particular sentence. If it just freezes then my guess would be a high level video driver. Memory, CPU, and power issues usually give a proper error.
Regardless, still try disabling MPE by going to Project > Project settings > General under the “Video rendering and Playback” tab, set Mercury playback to software mode if it’s in hardware mode.
Alternately, try disabling any antivirus or automatic disk defragmenting programs (Perfect Disk, Diskeeper) if installed. These types of programs dig deep system-wise and can sometimes be the source of freezes as well.
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks -
You might want to check out using a displacement map. You can animate a black and white map for a ripple and alter it so the edges remain still. https://library.creativecow.net/articles/hodgetts_philip/displacement.php
Angelo Lorenzo
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks