Arnie Schlissel
Forum Replies Created
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[David Roth Weiss] “One is a bottom feeding, scum sucking, scavenger… The other is a fish”
Shouldn’t that read “The other can be fried up and made into a tasty P’o Boy sandwich”?
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
Your 23.976 timeline is non dropframe. Your 29.97 output is probably drop frame. That makes the 23.976 version seem shorter. Shane Ross has a link to a non drop to drop calculator on his blog.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
If your digiBeta has component out, you could just run that into the monitor. Otherwise, you’d go straight from the Kona to the monitor via component.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Rafael Amador] “I started the tread few weeks ago and and yesterday the short was sent to print.”
Glad to hear that! When will you be bringing it to NY? 😉
I work with film to video transfers all the time. It’s my day job, actually.
If you’re shooting 25fps PAL, you leave it that way. That gets shot out to film frame for frame. Whoever makes the optical sountrack negative will adjust the speed of his camera & pitch shift it to compensate.
Color grading video for film can be iffy if you have no experience. We regularly see material that has had all of the detail crushed out of the whites and blacks. Once it’s gone, it’s gone, so it’s best to try to preserve it. Proper monitoring and scopes will help with this.
Again, you should talk to the lab.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
The fewer directories that FCP has to look through, the faster this goes. If possible, you’d want all of the media to be in one single folder, with no subfolders. With Red, the media is usually in folders organized by “reel”, but if all of these folders are in one single folder, it should go much more quickly.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
What Shane said.
If your footage comes in flat looking on a properly calibrated broadcast monitor via L&T, well, it’s probably shot flat.
Open up the FCP scopes. If the blacks are near zero and the whites are near 100 on the waveform and the color goes at least halfway out on the vectorscope but your footage still looks flat, then there’s a problem with your monitor. If the blacks are not near 0 or the whites not near 100 or the color doesn’t come out very far from the center, then your footage is flat.
This is why you need to use a properly calibrated broadcast monitor on set. There are small models for this use. Some even have scopes built in.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
I bet they shot with time of day timecode. TOD makes a TC break every time you stop and start the camera.
The only thing I can suggest is to log each clip around the camera starts & stops.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
You can export bins as batch lists to print them. I don’t think that the thumbnails will export, though.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[ryan lloyd] “we cant really afford to have a machine dedicated to just logging”
But can you afford to wait until a machine is available? Can you afford to stop editing to log & digitize a tape?
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
And I don’t even get a commission! 🙁
For input, look at the Matrox MXO 2 family, or an AJA IO HD or a MOTU V4HD.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/