Bret Williams
Forum Replies Created
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Just drop the footage in a regular 4:3 timeline and it’ll be letterboxed. Make sure you tell FCP that it’s anamorphic footage in the anamorphic column in the bin.
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I’m not sure about your exact situation, but back in the day we used to use some piece of hardware to make video walls. It took a regular signal and enlarged it, sending a quadrant out to 9 different televisions. Think of the U2 Zoo tour.
I’d have to think there are devices today that do the same thing for HD rez, etc. In fact, I went to a conference here in Atlanta for MCA-I a year ago, and it was in conjunction with InfoComm. The main InfoComm deal seemed to be video walls, presentation stuff, etc. Lots of video wall stuff. Big plasmas, 3D video walls, etc.
But that’s all I’ve got for ya.
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THATs what I tried to tell a company here in Atl. They too shoot DVCam and Beta, (mostly DVCam now), then go in through the AJA IO, then back out to DVCam!
They didn’t believe me when I told them that my DSR-11 system hooked up via firewire was of higher quality output than their big AJA IO system.
They’re actually taking another compression hit when they input component output of the IO into the DVCam, when then runs it through a compressor turning it into a DV25 signal. They also pickup some analog noise when they go from DV to Analog and into the IO on capture. With my simple DVCam only system, the footage doesn’t change one pixel (unless compositing occurs) from camera to edit master.
Sounds like the same situation with tetsaedabo. His final product would be of slightly higher quality if he were firewire only without the AJA. AND he’d have 5 times (yes, five times) as much drive space available. Drives would also cost significantly less and could be internal or FW or FW800.
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Who’s your host and what’s the script called?
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Also, look into the custom setting for the broadcast safe filter. You should be able to park on a frame with your too saturated background, and make settings that ramps down the saturation just for that portion of the scale.
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The broadcast safe filter doesn’t CLIP anything. It beautifully takes the Levels from 90 ire to 110 ire and compresses them to fit within 90 and 100 ire, but on a curve. No loss of detail that way. So it’s like a proc amp just for the top end of the luma.
Not sure about your odd extra bright colors that appear as the camera pans. You shooting in a disco or something?
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Actually, I always thought it was broken. Perhaps they fixed it. They way I thought it should work would be to batch capture and choose “current settings” instead of logged settings. But when I’ve tried that in the past, it still goes with logged settings. It was years until I discovered the bizarre bin “workaround.”
I’m not on 5 yet so maybe you guys can try it. Of course it should work both ways, but you know apple.
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What brand of drive is in a LaCie? I thought LaCie was essentially just the enclosure and controller.
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Are your clips offline? In 4.5 they need to be offline. If you just want to change them from 2A to Stero for example, you can make them offline (leave them on disk) change the type to stereo, then reconnect them.
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I’ve had this sort of thing. Sounds like a physical problem with the drive. Been there. No software could find the problem, and reformatting, etc. didn’t fix it.
Run some utilities on your whole system and if it persists, (or if you’re already convinced) get a new drive.