Annaël Beauchemin
Forum Replies Created
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[Sean ONeil] “It just MIGHT have been pertinent to post the meaning of the article, instead of just the sensational sounding headline:
“…and will instead offer free technology that lets people play Windows Media files using Apple’s own software.””
yes, this is in fact a good news. Windows Media Player for mac was an horrible POS (piece of software) in every aspect. It was ugly, buggy, old and didn’t have any smoothing when scaling (which the PC version does gracefully). Flip4mac is a releif.
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The apple technote is very old. I remember having read it back in the days of FCP3. I guess that it has to do with CRT monitors not displaying some frames due to their low refresh rate, but the article isn’t very clear.
Beside, I thought that those Dell had DVI ports. As far as I know, there is no refresh rate to set wih DVI monitors… I wonder where’s the issue.
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I remember having a problem like that once. It was an effect on a layer… I don’t remember if I just toggled it on/off or if I had to delete it and reapply it, but it needed some “refresh”.
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Oh, ok. I just find it weird to color correct and work with effects at half the resolution. But if that’s the way everyone’s been doing it…
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[Anders Haavie] “(why do i have to make a subclip for slomos, and what if I need the slomo to be one frame longer.. i have to make a NEW subclip ??? ARGH)”
You can use the Timewarp effect instead. You just apply it like any other effect on a clip in the timeline. It works very well this way. I’m not sure xpress has it, tho. MC adrenaline and Symphony both have it.
The slomo-subclip method seems to be used mostly by “older” editors. It seems to me that the timewarp effect was missing until very recently… it still has the advantage of having been pre-rendered, so you don’t need to render when you edit.
I’m saying all this but I am an Avid newbie myself. What I can say so far is that with Avid it’s not just the shortcuts and the buttons that are different. The entire editing workflow seems different. You don’t work with a tool, you work with trim handles in Avid. And learning the shortcuts doesn’t make editing just a bit faster in Avid, it’s a night and day difference…
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projectors are progressive, but they deinterlace interlaced inputs.
You can use progressive sources with a projector such dvd players (carefuly set up). But unless you have alot of time and total control over the equipment, just work in interlaced video and let the projector deinterlace the picture itself.
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funny, I would choose crunching the 120 masks over watching football.
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[Steve Roberts] “The cutting and folding was probably stop-motion done on a blue or black BG, then comped over the background.”
The folding looks like 3D to me… and the cuting is probable AE, like the rest. I agree that the stop motion looks more like “The Wiggler” tha real stop motion.
The reveals on the trees are nice and cute. This is quite an amazing animation, no doubt about it.
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yeah… it’s not intuitive at all, but since RGB 0 and RGB 255 represents YUV 16 and YUV 235, YUV actually have a larger gammut than RGB. Mind you that I thought for a while that it was the opposite… I had to read a clarification of the subject by an Avid DS engineer to really grasp the idea.
There are not many reasons to transfer movie files from FCP to Avid DS in a offline -> online workflow since most DS suites have a digibeta deck and that EDLs make the most sense for onlining. Unless you are dealing with HDV files which DS can’t capture… which is why I tried the FCP to DS route once.
It’s a shame that QT by default doesn’t have a standard uncompressed YUV codec (the “component” codec is YUV, but awful). Sometimes ppl doesn’t dig the idea that they have to install a codec to read quicktime files, and I do know why they are afraid of installing new codecs when you are working on a system that is fragile due to it’s complexity.
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Like MPE said, uncompressed would be the better way. Using the Animation codec (or “None”) would clip the superwhite and superblack values because they are RGB codecs.
By why not simply give them an EDL? Shops that have a DS usualy also have an in-house digibeta deck. And since your clips will loose timecode, they will either need to rebuild the the sequence or deal with the fact that they can’t redo transition and can’t tweak the edits. The EDL way is much simpler…