Arnie Schlissel
Forum Replies Created
-
[Peter Chamberlain] “While we showed the “Wave” at NAB, we are working on a SDK for the other panel vendors so Resolve on Mac will support a number of other panels soon. Very soon. “
I think you just made a lot of people very happy with this statement!
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Jordan Wilson] “Or can I just install the upgrade version and enter the serial number from the FCS2? “
Yes. That’s all you have to do.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
This appears to be true. An AJA rep pointed this out in the NYC FCPUG meeting last night. It opens Avid up to using footage recorded on the AJA Ki (and new Arri digital cam, too).
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
What does your client want? What does the station want? You need to know what the final deliverable is, then work to that spec.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
You can probably use Automator to make a script that would allow you to convert all of your image sequences into QT movies.
But in Compressor, make sure that your frame rate in the encoding settings is set to 24, then at the bottom of the frames tab, check the box that says “so all frames play at 24”
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Steve Voltmer] “I was asking how to do it in Motion.”
You don’t. All looping DVD menus have this problem, regardless of whether they’re made in Motion, AE, Smoke, Quantel, etc. It’s the way DVDs work. It takes a second or 2 for the laser to find it’s way back to the beginning of the loop.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
Interesting point, Bill.
I both agree & disagree. I’ve seen footage from the 7D, just shot in the camera store, and I was blown away by the look. It’s not just the shallow depth of field, there’s a different gamma, which is much more film like.
but the physical difficulties of shooting video really limits these cameras. They’re great for what they’re designed for, which is shooting stills on the streets. The video feature was added mainly for news & event photographers to expand what they were already doing into moving pictures. Neat. Cool. Useful.
But if you really want to shoot a doc on a DSLR, you should have your head examined. Maybe for interviews on tripods, OK. And for steadycam, jib or dolly shots, fine, as long as you don’t want to shoot longer than the sensor can go without overheating. But run & gun is where the ENG and prosumer cameras shine. And many of them produce damn good pictures, too.
But it looks like the camera makers are seeing the light, too. Panny is introducing a video camera build around it’s 4/3″ chip. Sony and Cannon are rumored to be working on similar ideas. These large SLR imagers are being made in pretty big numbers, so they’re very cost effective, and companies like Panny, Cannon, Sony, Nikon, etc have the resources to work this out.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Uli Plank] “OTOH, Canon doesn’t give you alias-free images and RAW data.”
Raw formats are too difficult for most ‘pedestrian’ users of these cameras. I think that a large number of people shooting on Red don’t know how or don’t want to use the .r3d format. They transcode to and finish in ProRes, DNxHD or some other format that ‘just works’ on their edit system.
Shooting with raw codecs implies using an offline-online workflow, or using a pretty high powered (and very expensive) system. Too much for most indie film makers, too much even for some smaller, experienced shops. Just give them a pretty picture and a workflow that doesn’t make them sweat bullets because at the end of the day, it’s about telling the story or selling the can of peas.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Craig Mieritz] “The narrative footage will be shot in 1080/24, some with a 5D and future acquisition with a higher end 1080P cinema-type camera tbd. The documentary footage will be acquired with a camcorder, the choices being an EX1 or HPX 170.”
[Craig Mieritz] “If I acquire in 720PN, am I making things too complicated or possibly compromising quality since there will be some intercutting of footage and everything will be delivered in 1080?”
You are already making your life very complicated just by wanting to shoot in more than one format. Life is too short, and most indie documentaries are already too likely to never be finished. If you want to improve your chances of actually finishing your doc, choose one camera and stick with it.
The EX1 and HPX 170 are both very easy to work with and make very good pictures. The Cannon SLR cameras, IMO require too complicated a workflow within FCP. If you want shallow depth of field, use an EX3 or an HPX 3xx and use wide aperture still lenses on that. You can vary the look of the video by lighting differently, by using different lenses, by composing differently.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[John Sullivan] “The version of FCP studio I am using is 5.1.4 and because I no longer work for the company that installed this software on my computer I no longer have access to the discs to simply reinstall. “
If I read this correctly, that means that you never actually owned the FCP license. Sounds like you need to actually go out & buy your own copy.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/