[Bret Hampton]

It seems Arri records with this embedded in the file, so it’s not a Premiere problem but rather a Premiere solution allowing you to turn it off in Master Clip if you want.

It does the same thing in Avid, so it’s baked in to the file.

[Bret Hampton]

It turns out Premiere applies Arri709 LUT when importing native footage. However proxies seem to strip metadata, causing washed out look.

Applying the LUT to each clip or to an adjustment layer for the sequence seems to be the answer.

Again, I’ve not worked with proxies before and not much with LUTs, so if someone knows a better way I’m all ears.

[Bret Hampton]

I solved this, was overthinking things.

I ended up using one of the GoPro Cineform settings when you open the Ingest menu.

[Bret Hampton]

Jeff

Can you help with my issue re set to frame size?

I have clips in 2k (Red), HD (Blackmagic CC and Canon SLR) and 4k (Blackmagic again). However most of the footage is 2k so would like to edit 2k timeline.

Am able to set 4k to 2k w/o problem, but the HD footage has pillar bars unless I use Scale to Frame Size not Set.
I’ve tried making Set as my default in Preferences, setting in Timeline, etc but can’t get it to work.

Is this because it’s using the 1080 part of the image to determine frame size rather than 1920 or 2048?

Thanks
Bret
Bret@Brethampton.com

[Bret Hampton]

Thanks Martin

I’ll try that. I was able to get better results with more practice. I think one problem was I wasn’t defining the tracking area properly. I thought I clicked to complete the shape but maybe not. When I tried the exact same clip again I got a good result.

[Bret Hampton]

Hi
I found a button with S what’s called Surface Tool in FAQ, but when you hover it says ‘show planar surface’ and doesn’t seem to do anything. I can switch on/off but that’s it.

[Bret Hampton]

Hi Martin
Thanks for your help. I did watch the video you suggested as well as some from Mary Poplin and Surfaced Studio. They all seem to show the same procedures.

It seems like Mocha is tracking just fine. My problem is the tracking doesn’t show up the same in After Effects. I’ve tried making new solid same size as comp, precompose, all things shown in tutorials but get these results.




I don’t know what you mean by the surface tool. Is this in Mocha AE? I don’t see it. Does it have another name? But you are saying I need to select that tool, then export tracking data?

[Bret Hampton]

I think Warren is right.

I wanted to use it for Premiere on Windows 7 but ended up getting LHi card as LHE was unsupported in current Premiere version. They phase out support for cards over time. The LHE is a very old card now.

[Bret Hampton]

Tempe

The standpoint “when everyone worked in reels” is incorrect. We STILL work in reels. This is accepted format for feature delivery, fiction or documentary.

Of course your post house is free to request whatever format they want, but CMX 3600 is accepted standard and yes, 999 events is the limit. It’s a holdover from the analog tape days and isn’t going to change. Editors have asked this question for years.

It’s generally accepted to deliver each “A/B” reel (two ten min reels joined together separately), picture and audio. Then the audio engineer uses Pro Tools (the standard) or similar software to do any additional sound editing, add ambience, sound fx (in camera or Foley), ADR, Music, etc.

If they can’t accept your CMX list, maybe you can make an OMF from your edit software and they use that?

[Bret Hampton]

I’m with Brent. Most likely you received wrong timecode on your audio. It’s tricky exchanging footage between countries with different standards. It’s possible they think recording 23.976 and 24 are the same and that small difference would account for tc drift over time, about 6 seconds per hour.