Bob Flood
Forum Replies Created
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Chris
Flash to flash means film camera start to film camera stop. The efx house wants to know the start and end of each shot from camera, not from your timeline.
an EDL will tell them the exact frame each shot begins and ends in your timeline. The efx house wants the whole take so they can either cut it out and assemble it onto a select negative roll, or scan the whole take rather than just what you cut, to facilitate dissolves and such.
Ask them if all they really want is some “handle” like 2 or 3 seconds on either side of the editied shot. if thats all they need, there are a few ways to do that, and i think the easiest one is cinema tools (what you want is a pull list).
of course all of this is speculation based on my assumption of waht you asked. It would be valuable for myself and all contributors to this forum if you presented more information about the project, specifically your workflow.
other than how your parents conceived you, there is no such thing as too much information! 🙂
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Morty
(can i call ya morty?)
My understanding is this:
Which Production Compression codec you use (DV, DV50, DV100, Pro Res)
is kinda dependent on how much compositing your gonna do. IE
dv may look great when simple cuts for 10 iterations, but waht does it start to look like after sending it to motion, then back, then to after effects, then add titles etc etc. People have said it gets ugly
Also there is the issue of color space, 4.2.0., versus 4.2.2. at dv 50
However
So YEAH! thats cool you can “dub” dv down 10 passes and still look good. Comes in handy for versioning and revising. But I would rather do keying off of DV50 or 8 bit UNC, then DV.
To Be Honest, I am considering laying down all my finished projects (anamorphic) to DVCAM rather then BetaSP, as I am starting to see dropouts in some beta stock. So by your tests, It sounds like I could use an existing DVCAM master as a submaster to make a new version, and could do that at least ten times. (rather than recapturing the original master, and the material for revisions everytime i want to change some shots.
cool beans!
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Hey Bob
maybe subclip is greyed (grayed?) out because you somehow un linked the clips in your sequence to the clips in the browser, you knucklehead!
WHen you press shift f you will get a message telling you that “there is no master cip in the browser, do you want to make one?”
so now you Have to use Media manager! nice goin porcupine!
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
sorry
long weekend…brain not quite back to work….bad coffee…
bee eph
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
ben
“im losing under a second every time i do this.so here i am with a bin of up 50clips per tape with time missing between each clip”
so the tapes were shot with no preroll?ie no time between the timecode break and the first significant action?
set your user preferences to ignore tc breaks, or warn after capture, and capture everything at final resolution so you dont have to re-capture.
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Patricia
Quite a few libraries will send you discs free of charge and only ask you pay for waht you use. This gives you the ability to drop in a variety of choices, preview em, play em for clients, and then buy them once everyone is happy. Extreme Music is one of them, and they lean toward aggressice, high energy, sporty sounds. we have there complete library on 2 dvd’s as Hi Rez MP3.
another one we have been getting samples from is “7-Out” (its some gambling reference as there calling card is a poker chip)
there is a local sound studio that has put all their music on line so you can sample on the interweb. they are called Aaron-Stokes Studios and its their Q service. they have quite a few librarys, and will let you sample free, upload your choices, then you only pay for waht you use.
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
thanx one and all!!
Itamar, How do you like AVX? Have you done a lot of restores from tape?
whats your impressions?It looks impressive, i just worry about “down the road” that the drive will die with no replacement from the manufacturer (happened with me and Onstream) Or the company simply “goes away” and takes all the developer assets with em
bee eph
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Hi
I had to do the same standard convert, just different formats
ie i had a 29.97 dv50 show and had to integrate 25 DV.I think i just batch conformed everything from 25 to 29.97 in cinema tools, then slowed the stuff down where i needed it, which was only a few places, as the subject matter got better when sped up!
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
hey Walter
you said:
“As for your archiving / backup, there’s a new replacement for DLT tape that’s much faster.”
a new tape format? oooh oooh!!! tell us more! please?
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Hi
OH MY GOD!!! YOU LUCKY DAWG!!!
here is ,or are, my 2″ cents:
First some props
i started on RCA TR600 2″ VTR’s. AS well as shading an RCA TKP46 camera, so i know only too well waht kinda issues you can get from tube cameras and analog vtr’s
soo
Judging by the close up on Rick Neilsen (can any say Huntz Hall?)
i dont think you have a lot of banding (misadjustment of the quad heads)
One way to tell is by looking at a shot with an intense color, like red or blue, on a relatively smoothe background, like a smoky wide shot with a lot of red lighting. Banding would appear as horizontal bands of color difference, approx 1/12th the picture height (64 lines) across the colored area.
The last generation of 2″ machines (TR600, AVR-2) had a lot of automatic chroma equalization circuitry, so unless whoever played back the tape never set it up, banding should not be an issue. (and i would have to think that if anyome even wanted to go near a 2″ machine they would know something about how to set up)
That being said, what I am seeing in the darker frame is some sort of high frequency interference. (hum is big waves) It looks like Radio Frequency Interference (RFI) It could also be caused by the volume of the sound generating Microphonics in the picture tube (although it looks like the band was not playing during the blackout).
Budokhan was built as a state of the art film/video/audio freindly concert venue, so I wonder if the noise was generated during transfer, although RFI was almost always a camera issue.
Waht does this mean to you? see if you can look at the original 2″ and find out waht you can about it (it might be as good as it gets)
then look into some denoise and cleaning plug-ins (I am sure there are some sophisticated algorithms out there that can clean it up as well, for a price of course.)
oh one more thing: post “want you to want me” on you tube when you are done. DOOOOOD!!!
(btw, a show of hands on how many saw the concert on TV the First Time? that would be me! anyone else?
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc.