Basilisk
Forum Replies Created
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On a related issue. I am new to DVCPRO HD. We are having a shoot with a Varicam next week. Sounds like we are trying to do exactly the same thing with firewire into FCP except with a PAL region camera we should be capturing 25fps. Does this make any significant difference? Is the 25P workflow the same?
If we shoot some slo-mo footage, can we capture that over firewire, or is that going to make things complicated? -
DV camera vary in sharpness. I have keyed footage from and old XL1s and it was a lot worse than that from a XL2. If you are shooting 16:9, make sure your camera has a 16:9 CCD and isn’t just using a slice from the middle of the CCD and stretching it, sampling 400 lines up to 576. Alternatively, if a shot clears the sides you can shoot it 4:3 to get the extra resolution of the whole CCD. Full length shots you can turn the camera on its side to get extra resolution.
Anyway – always get as much resolution as possible, you still get sucky keying, but it wont look quite as bad if you’re not keying fuzzy edges as well.
Alternatively get a quote on shooting with a camera that handles digibeta or DVCPRO 50 – it really is worth it. -
I have a similar question, so I will tack it on here. I am about to embark on an AE project. We are planning to shoot 25fps 720p on a Varicam for PAL presentation (we may also try doing some slow motion stuff). If the footage is captured as DVCPRO HD Quicktime files, will I be able to use them directly in AE on the Mac? Will I will need to get an upgrade to FCP to get the correct codec? Are there any problems working with the codec in PAL format, or using other frame rates?
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Particular has to be easiest – and the new version allows depth of field which makes a great difference for realistic effects. Mostly swarms of flies don’t move in patterns like flocks of birds
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you could render a 360 degree camera rotation as a regular quicktime, and then use time remapping to move left or right. You could use an expression to tie your AE camera rotation to the time remapping. Might be an idea to render at higher than SD resolution, then you can move in and out a bit. Might need to render quite a lot of frames (720?) to get it smooth and turn on frame blending.
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you could render a 360 degree camera rotation as a regular quicktime, and then use time remapping to move left or right. You could use an expression to tie your AE camera rotation to the time remapping. Might be an idea to render at higher than SD resolution, then you can move in and out a bit. Might need to render quite a lot of frames (720?) to get it smooth and turn on frame blending.
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I like the idea of lights with distance falloff – why on earth are they not already available in AE? Depth cue does look like it could be pretty handy.
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I was going to try buying one of those big green plastic tarpaulins and maybe give it a coat of matte green emulsion paint. That would give a surface you could put on the floor and use as a backing. It is a good idea if you can stretch it to remove as many creases as possible. The Keylight plugin (AE pro only) is pretty easy to get a fairly good key with.
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You probably need Dan Ebberts on this one. You can calculate the duration of a layer from layer.outPoint – layer.inPoint, but this is no use when you are using time remapping, to extend the duration of the layer.
I would love to see the result of your experiment (or at least a quicky test with real footage). I didn’t get to make the music video I was planning to use this in, and it would be good to see how effective it is.
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You probably need Dan Ebberts on this one. You can calculate the duration of a layer from layer.outPoint – layer.inPoint, but this is no use when you are using time remapping, to extend the duration of the layer.
I would love to see the result of your experiment (or at least a quicky test with real footage). I didn’t get to make the music video I was planning to use this in, and it would be good to see how effective it is.