Arnie Schlissel
Forum Replies Created
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What kind of projector? In what kind of venue?
Are we talking about a 2k digital cinema projector? A giant conference room projector? A home theater projector? Portable? Bigger than a taxicab?
That will have a lot to do with how you need to set up your monitor properly correct your film.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Ernie Santella] “Do you mean only on FCP systems or all Macs?”
I think he means the editors. More coffee!! More Jolt!!!
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
Genlock means using an external sync generator, also known as a blackburst generator or black generator. It creates a video sync pulse that locks the deck & your capture card together. Without it, you need to set both of them to lock to the incoming video signal, and if there’s any kind problem with the tape you’re digitizing or the file you’re laying off, it can cause these & other problems.
That’s not to say your black frames are definitely being caused by lack of genlock, but it’s one thing to check.
The fact that it’s only on tapes from one client is interesting, though. Find out if they’re using recycled tapes. Also, do you have other technical problems with their tapes? Are their audio or video levels to hot? Do they have other weird artifacts in their video?
If you want to get a synch generator, the best option right now is either an AJA Gen10 or a Black Magic sync generator. Both will do either HD or SD at any standard frame rate. The AJA is around $400, the BMD is around $300. A Horita, which would be only SD PAL or SD NTSC would run your around $250, any other HD generator would probably be $1k or more.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
I have seen this same problem with DVCPro HD footage. But wait, there’s more! When you render, your comp will be horribly aliased!
My solution (and I had exactly the same problem & solution in Shake, btw) was to switch the Motion comp to 1280×720 square pixels. Poof! Problem all gone!
When you render, simply render out the comp in the native codec & pixel dimension to match your FCP timeline.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Peter Wiggins] “Is that you in the window waving? “
Indeed it is!
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
I’ve had good results doing this with Shake. I’ve also heard of people using Twixtor for this.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
You can do this down-conversion in realtime as you layoff to tape if you have a Kona, IoHD, Decklink HD, Multibridge, Matrox MXO2, or MOTU V4HD.
If you do not have one of those capture products, find a post house or dub house that does.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
Hey, Peter, I can see my house from your Volumetrix demo!
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[kirk gillon] “I am halfway finished with an offline edit of a feature film. I have discovered that A Camera was set at 23.98 fps(ProRes422 Compressor) and B Camera was 29.97 (DVCPRO HD 1080P30 Compressor) “
I have to ask- how do you get halfway through a film before you notice this? How do you not notice it right away?
And how did you manage to digitize the material to 2 different codecs at 2 different frame rates?
I don’t mean to sound crass, but it sounds like someone worked very hard and deliberately to mess this up.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
This could be a number of things. The most likely is dropped frames because your drive system is too slow. It might also be a cabling problem. Or maybe a genlock issue.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/