Blub06
Forum Replies Created
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I am not sure where this thread is going but I will be glad to answer a question or two. I don
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There are so many reasons for this look. I could argue that that look starts well before the 80’s but I will address your notion as you offer it.
In the early 80 Zeiss and Panavision came out with breakthrough prime lenses. Kodak and Fuji came out with much faster breakthrough film and a new light form was invented and quickly adopted by everyone, called HMI.
Before 1983 it was hard to shoot, you needed lots of experience to light for 100 asa film and shoot on location with minimal lighting. After 1983 with those fast fantastic lenses but most importantly the new fast film stocks, anyone could shot fantastic looking stuff just by getting the exposure right and keeping things in focus. This was a God sent for all the no talent music video directors/DPs. I would say the professional look is a product of new equipment and film not talent. But that equipment and film is not cheap.
I could go on but this is my minirant and I doubt you want the maxirant.
Chris
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I went to the NYC show, they were projecting the video material on a 10 or 12 foot wide screen. This is not the way most people will be watching HD. As good as the projection was it adds its own artifacts to what it projects. I too had an issue with one shot. I later asked one of the guys to load the shot so I could see it. The only way they could show it to me was on the lap top, not such a good way to inspect but… When viewed the shot did not have the issues I saw in projection but showed other issues. Nothing like a CRT to answer artifact questions.
I too was impressed with the Sony product. I got the impression that I could bring 35 Mb/s footage into FCP vie FireWire. We were told that the footage we were viewing was shot at the 35 Mb/s rate and cut on FCP. In other words, if you can only ingest with the new software and will only want to work with the 35 Mb/s stuff, you will not be editing anything. But, if you bring in vie log and capture throught firewire, your good as gold, just like we have all been doing it for the last six years with FCP and years before that on the Avids.
This whole file transfer thing blows me away, but not in such a warm and cuddly way. The state of mind people have seems to be that without it no editing system is worth using. 99.99999% of all shows are diged, today, right now. When did it become the standard methodology to file transfer? I cut 8 one hour shows last year with XDCAM, it all came in vie firewire.
I like the idea of file transfer but, most edit systems are set to ingest vie fire wire or some card, I know we all have to get hip but, who snapped their fingers and changed all of our lives so quickly, I didn
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It was not clear to me.
Part of my confusion is the constant use of consumer nomenclature used to describe professional products.
Maybe its my fault for wanting clarity between these two worlds. After your post I realize that If I expect people to define things exactly as in using 25mbps XDCAMHD rather then HDV I will forever be disappointed.
The market place of ideas has spoken, I guess its HDV and Blue Ray, even though its not.
Chris
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I don’t understand your use of the term blue ray.
Ary you saying that the pro XDCAMHD decks dont work? I assume you know that XDCAMHD does not conform to blue ray specs.
Are you saying that you are trying to record an XDCAMHD timeline to a consumer Blue Ray product?
When you say HDV stream, are you saying MPEG2 stream? Or is HDV stream not an MPEG2 stream? If HDV is an MPEG2 stream then you mean MPEG2 stream, right?
Chris
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When Apple was going from the G4 to the G5 IBM and the other design partners were told by Apple, we want speed, give us horse power!. IBM said, we can give it to you but that means we will essentially be designing a chip that can not be reworked for a laptop. Apple said give us power and the G5 was born.
For the last few years it has been the laptop that has offered the most profit for computer companies, while Apple makes great laptops the speed difference between the top of the line Apple G4 laptops and the WinTel laptops has expanded so much that Apple feels it is losing huge amount of sales because of it. So Apple went with Intel, they have horse power for both desktop and laptop.
10 Months ago or so, Intel announced that its next iteration of chips will not priorities speed but power savings. Apple gets in as Intel gets out of the speed business. For the last year or so the stock of Intel has had the snot kicked out of it, because, they don
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Another way of saying the above is that there are no yellow and red arrows, no modes.
You double click on the clips in the timeline which loads them into the source window, the tabs on the top of the source window are where you do filter controls and motion controls. If you put the curser over the clip (in the timeline) you are trying to effect with a motion you can control the frame in the record window like with 3Dwarp, if you select the oval icon above the record window in the center that
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NDs and a Polarizer, I fully agree with bucking the trend of calling attention to yourself by using heavy handed grads.
Chris
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I appear to have screwed up, that
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This is why several versions ago Apple should have added the option to FCP which would automatically change the sequence to what every format file you are cutting or dragging to the timeline.
This would be done by showing an option box when you started to cut in footage which asks if you want to set the sequence to the file format of the clip being used. If you added a non similar file to a sequence that already has files your in render land, just like now.
I guess a new update will allow us to have any number of different formats on the same timeline with no rendering, here