Arnie Schlissel
Forum Replies Created
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FCP will allow you to nudge your audio down to 1/100th of a frame. Soundtrack Pro will allow you to nudge your audio down to a single sample. STP also makes it easier to see the waveform at extreme magnification down to the sample level. If you really need to adjust the sync with subframe precision, I’d do it in STP.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
Are you “handy”? Do you own some tools? If so, you could probably make a lot of this stuff yourself. There’s plenty of metal bar, rod & plate stock available on eBay. You can also find the various fittings there. Plus, companies like Manfrotto market adapters, plates, quick releases, bushings, etc via your local camera store.
If that’s too much & there’s a good machine shop in your area, you could probably design something and have them make it for around the same cost as Zacuto’s stuff.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
Is this the demo version of KLF, or have you bought and installed a serial number?
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Joseph Owens] “I’m kind of thinking that they should be selling the software with a dongle that checks out the config.”
Not a dongle, a system engineer with a mallet. The mallet is for you & me, in case we’re trying to kludge together a DI suite with a Mac mini and an iPad.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Simon Blackledge] “Possible option could be pcie card > 16bay external raid with 3 more pcie slots internally.”
Well, as was discussed in this thread (scroll down a ways), all of the cards in the expansion chassis are sharing the bandwidth of the single slot on the Mac that the chassis is plugged into.
Perhaps we should start a petition drive…
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
You should be aware, and you should also inform your client, if their color choice falls outside of “broadcast safe”.
And you should warn your client that their color will probably not look the same, even if it is broadcast safe. there’s a number of reasons for this.
Video (both RGB and YUV color space) does not display colors the way they look on paper.
Nobody calibrates their TV or computer monitor. And those few who do probably don’t do it correctly.
By the time it gets onto someone’s TV or computer, it’s been transcoded and recompressed a number of times, through several changes of color space.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Ben Barnes] “Both the Color grading window and the Final Cut canvas window are on a calibrated HD monitor.”
[Ben Barnes] “So, what is going on?”
Do you mean a computer monitor? If so, that’s what’s going on. You must use a broadcast monitor connected to a capture card if you want to accurately see what your footage looks like.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Phil Balsdon] “Cinema Tools might do this for you.”
Not with AVCHD it won’t. CT will not do frame rate conforms on any long-GOP material.
I would use Compressor to pull it up from 23.98 to 25, frame for frame. If you want, you can then use Soundtrack Pro to re-pitch the audio.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
What kind of blanks are you using? What burner?
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
This “bug” is new to me. But what do I know. I just use FCP every day with footage that’s 720P, 1080i, 1080P and 2k. If my timeline is correct, all of the footage works properly. I must not be doing it correctly, or I’d see the “bug”.
Do you have a broadcast monitor? That’s another “bug” in FCP. If you don’t have a broadcast monitor, you will often miss important things or misjudge your footage.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/