Anthony Miles
Forum Replies Created
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Please Help!
How did you export to dv100 or dvcpro hd QuickTime. I have the same “Unknown error” problem with a huge documentary project and have spent 3 weeks trying to reconfigure the system to get the errors on export to go away with no avail. I have an FCP 5 system that works very well. I am at the point if I could just get the project off in chunks in dvcpro hd I would be very happy to move on.So, I didn’t see the dv100 codec in the QuickTime options in premiere pro 1.5. Maybe I just missed it but it would be a great thing to have. Please point me in the right direction.
I have a dual core p4D 3.0 GHz 3 gigs ram and lots of over a hundred gigs of free hard disk space. If there is a solution to get this thing of my PC to finish it I am game. I would even spend up to a 1000 on new computer parts if they would make the difference.
I also get that error PPro failed to return a video frame,,
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Andrew, Are you saying you are getting audio from the sdi out on the canon XLH1. I understood there was no audio on thier HDSDI / SDI. Please advise as ths wouls be great.
Thanks,
Anthony Miles -
Thank you very much for your replies. Is it a standard or “not so standard” practice to deliver in mpeg 2?
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Thank you, I will.
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Jerry, Chris,
Thanks I had heard there was a bug in compressor that made encoding look worse on “Best” than on “Better” ont eh the motion estimation. I am encoding 2 pass 6.5 mbs. So the data rate should be fine. Video is mostly a talking head but the dissolves go to pieces. I did recently ran software update and was wondering if anyone had heard if there was a fix for this. As far as encoding markers go, I can definitely try it but there is probably 500-1000 dissolves in a 50 minute program, as I dissolved in and out of grafix and B-roll consistantly. I will try a short test & see.It should just work, it is a Mac after all, right. 🙂
Thanks,
Anthony -
the road rags are great, if you are traveling or as a one man band. They can save a trip to the truck being able to stack them on a kart with the rest of the gear. To get a really good cut on the larger 4×4 bank kinos in my experience a 4×4 black solid floppy is the real trick, although a good 23×36 solid will do quite well if you have a bit of distance from the background, depending on how critical your application is. Inteerviews great, product shots pretty good.
I can set up a road rag in very little time, much less than a walk to a vehicle to get a couple of 24×36 flags or scrims. Never seen them have a durability problem, my regular silks fray much faster than the road rags.
Hope that helps,
Anthony Miles -
Try building an equivinelt to an ND grad, or a gadient in photoshop or in the titler, then you could luma key it in over the brightest areas. If you wanted to take it a step further you could created soft edged alpha channel mask in the area the talent is if it is a static interview and the person is not moving much. That might get you an easy fix.
Otherwise in the future you might try getting neutral density gels and covering the windows .6 or .9 will bring the windows down 2 or 3 F-stops respectively and help with the great amount of overexposure you can get in the “windowed background” situation. You can also get ND .6 with full CTO to correct the for 2 F-stops, and the blue daylight coming form the exterior to match the tungsten of your Softbox, unless you are using daylight balanced HMI lighting with your softbox.
Try your local grip or lighting vendor for the gels they come in large rolls for about $125.
Hope that helps,
Anthony Miles -
Thanks. I ran Auto update software, Installed new version of Decklinck drivers and the problem mysteriously vanished. Hmmmmm.
Thanks for your suggestions.
Best regards,
Anthony MIles -
Thanks for the replys. Looks like the director isn’t going to take my budget based advice and we will shoot on an f-900.
Best regards to all,
Anthony -
Thank you Barry, that is really good to know.