Brett Nelson
Forum Replies Created
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I just converted my DV-AVI in Squeeze to a DV .dv file. Still no go.
Brett
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I don’t think it’s a permissions issue. The files work without any trouble in PPro CS6 and QT on the same system. The same files also work without any trouble in PPro CC on my other system. The question is what driver do I need to have installed to have CC import/read a DV-codec AVI. It doesn’t seem like this should be this hard, especially for an app that’s cross-platform.
thanks,
Brett
BTW, funny exchange with one of the Adobe tech support people. He saw it was DV-codec AVI and he asked what camera I used to shoot it with. I said I had no idea, that the footage was 10 years old. He said, “You don’t know what camera? It’s ten years old?!” I guess his parents didn’t have a miniDV camcorder around the house when he was in grade school.
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Hey David!
I’m wondering about what transcode will give me the greatest latitude in Color for lightening underexposed footage? I am mostly asking about ProRes 422 v 444 transcoded via L&T. I was thinking about 5DtoRGB, but heard you lose half a stop on transcode.Brett
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I’ve got a follow-up to the same question. How should I bring dark 5D/7D footage in to FCP/Color? I typically use L&T, but should I transcode to 422, 444 or 5DtoRGB?
thanks,
Brett
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BJ,
I agree with hiring an Israeli security consultant. I never knew what airport security was until flying out of Ben Gurion in Tel Aviv. They touched almost every item in every one of 4 cases. 45 minutes of undivided security love. Very impressive.My favorite security experience was driving into Israel from Jordan. Two very attractive IDF soldiers started casually talking to me as I was waiting with my equipment. What was I filming? Where was I going? They asked me if I would take their picture. I was flattered until I realized how many questions I had answered without thinking…then, all of a sudden, they disappeared. I felt so used…they didn’t even just want me for my camera.
Brett
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Thanks for the responses. Yes, it’s ridiculous…it’s a power issue, and not the AC or DC kind. We have a Mac Pro, which isn’t questioned, but this all came up in the process of buying a Macbook Pro. They’re stressed out about terabytes of data walking in and out of the door every day. I said that’s why production insurance is so expensive. It’s unavoidably a high risk.
I told them our best risk protection is that we have nothing worth protecting. This is for a nonprofit organization. Shots of kids, health care workers, disaster relief workers…not sexy. The IT person’s response, “Yes, but it’s still our data.” Right.
Out IT people are not so different for many agency creatives I’ve worked with in the past…everybody wants to stick their fingers in the pie. “See that shade of cyan? Yeah, you should have seen it before.” Imagine what an agency creative would say about being lumped together with an IT person…
thanks,
Brett
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Thank you! I thought it was there, but despite searching, I couldn’t find it.
Brett
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Should I render in the nest or in the original? Yes, dissolving on a merged layer is what I’m looking for. There is a Nattress dissolve (G dissolve) that gets close, but still not perfect.
I have tended to limit using nests because of funkiness I’ve experienced over the years, e.g. mixed audio levels being unreliable. Maybe it’s time to revisit my workflow.
Brett
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I made an interesting discovery, when I transcode to Pro Res LT 720p or XDCAM EX 30p with Upper field dominance selected in MPEG Streamclip (just like I did with the clips that I transcoded to Pro Res LT 1080p) the clips show up in FCP with no field dominance. Why does transcoding to Pro Res 720p end up with no field dominance while Pro Res 1080p does. Oh well, it works to force the change to none in the sequence.
thanks,
Brett
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[Jeremy Garchow] “Interesting. Sometimes ‘looks better’ means ‘finishes sooner’ I guess.”
Right. Unfortunately so do “dumb and ugly”…not that I’m implying anything about any particular software program.
Brett