Ben Holmes
Forum Replies Created
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Yes – I can confirm this. I had the exact same issue when I was messing around with some Prores HQ 1080 files (24p I think) I had converted from .red files.
I did not look into it any further except to look it up (I think in the manual, certainly in help) where it makes mention of minimum requirements from the gfx card when rendering fx plugs like this.
I have to say it ticked me off a little, especially since FCP does not even allow you to render the effect AT ALL, not even using the processors, as it needs to render this effect on the GPU. Also seems absurd that the stock gfx card cannot support a stock fx.
As I use Sapphire effects, I resolved never to use bloom again…
Ben
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[mark pommett] “On the VT Record Report where it says “Production Status;”, it hs the option to check “Clean”, “Dirty” or “TX Copy”. Is this something I’m supposed to fill out or does the network do this? “
Clean = clean of graphics or subtitles usually. Such copies are made for international versions, or for promo use or as a sub for later gfx work. Dirty = includes all the above. TX copy = recording of final version for transmission, as opposed to TX master. I would ask the network if they need this info, but it’s usually filled out by the VT dubbing dept.
[mark pommett] “They also ask for “No. of Replays:” and “Bug Position: please indicate where bug should be positioned: T.L., B.L., T.R. B.R”
Not sure what this means and if Im supposed to fill it out. “The bug is the station ident (burnt in on transmission) to be positioned top left, bottom left, top right, bottom right, and number of replays = number of times it will/can be shown on the channel. Info like this is normally completed by the presentation dept. in my experience, certainly the reply number. The bug position is determined by choosing where it will not cover gfx, or based on the network’s own policies (some always have it top or bottom for example, and expect you to accomodate that with your gfx).
[mark pommett] “finally “1st TX date”. Im assuming this means first day it will air.”
Yup. Nail on the head. Probably let them fill that one in, unless you have a firm date.
Most record reports are incomplete in some area, I wouldn’t stress any of this stuff.
Ben
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[Aaron Neitz] “Now I just need to get this RED footage to play nice”
Tell me about it. Just found out (too late) that you can’t play proxies made from 16:9 4K .r3d files. GAH. There goes the ‘offline’. Still, I should have the conversions in 30 hours if REDCINE doesn’t crash.
I’m dreaming of 720p25 right now.
😉
Ben
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[mark pommett] “#1. What is the Media ID that you need to put on your slate for your deliverable master? Is this provided by the network or is an arbitary # provided by the editor to identify the tape? “
You need to ask the network if they have a program number or ID they want to use – there is no stock answer to this, request the broadcast spec from the boradcaster, it will list all these details.
[mark pommett] “#2. Im delivering to the UK and they want a 30” countdown. Can I use a half circle or do I need full circle? “
See above – broadcast spec again – although most clocks are 40″ round ones by convention, some not circular at all.
[mark pommett] “#3. They want a VTR record report with the commercial clock numbers (timecode) and title. Since I’m outputting a NTSC master to be converted at another post house to PAL, will I be able to give them the correct times if i read it off my NTSC timeline? “
Seconds and minutes are the same in PAL or NTSC! It’s only a problem if you specify frames in the above, and then note that .00 is the same in both, so make sure everything starts on the first frame of the second….
You should also check that they are happy to receive a converted master – they need to at least be aware that is what they are getting. A professional transfer is the right way to go with this, but will still have consequences….
Ben
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You can use a standards converter plugin, such as the Natress one.
I have no direct experience of it, but he’s pretty much a genius, so I would guess it works.
https://www.nattress.com/Products/standardsconversion/standardsconversion.htm
Hope that helps!
Ben
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Seeing how everyone is playing so nice, I wanted to chip in one comment, based around what Jerry originally said about FCP’s extensive use in TV and movies. I really feel that this IS a key point. If you commit to a platform, you need to commit to the platform that has the biggest and most talented user base – whatever that may be for you.
Ultimately, any discussion of which NLE is better is moot. We all know editors who can turn out amazing work on any system, and that any edit station is just a tool to channel that talent. Yes, some tools are sharper than others, and may make the process quicker or easier for certain operators, but that only gets you 10 percent there, the people involved give you the other 90 percent.
Similarly, discussions about which platform supports what codecs etc. ignore the fact that there is almost always a way around any post pipeline issues. As someone recently involved in the RED camera post process, it’s so far from perfect it’s like stepping back in time 10 years. They’ll sort a lot of the current issues, but the point is a lot of people just don’t care – they want to use the camera because the pictures look great at an amazing price (oh – it’s good, believe me), and the creatives just want you to make it work – so you do.
What’s the point? If you need to pick a system, look at what your best talent prefers, and use that. With prices of edit stations on all platforms closing on each other, it’s easier to make a choice on the basis of talent, not cost.
Ben
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Ask your IT manager if he genuinely thought that the brand new Apple Pro machines would not run Apple’s own pro software.
I don’t think so.
😉
Ben
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David
Please do a search posts for this topic – you will find a number of previous threads starting with your exact question. The answer has nothing to do with your RAM. Restore your project to a previous autosaved version and continue….
Ben
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It’s an h.264 quicktime – all you have to do is click on the link. If you can’t get it to play, you don’t have QT player installed (which would seem odd on a FCP forum). Give it another try.
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Glenn
As Uli says, you can try to use Motion to smooth your slomo, but here’s some general advice for you: work within the limitations of your camera. Use it in light conditions and speeds that suit it – work out what you can get from it, and then plan your shoot accordingly.
Whatever algorithms or software you use, you will not get the over-cranked proper slomo look you want – because the viewer will recognise the footage for what it is. Some cheaper cameras (such as the uhnbelieveably-good-for-the-money Sony EX-1) can now shoot at 60fps, giving the smooth look you want. Have a look at the video in this link (if the cow lets me post it):
https://www.dvxuser.com/V6/showthread.php?t=121427
If you have to have this look, rent this camera for a day. If it’s a school project, give it a try, but bear in mind my first piece of advice – you have to work with what you’ve got, and get the best out of it.
Ben