Brian Mulligan
Forum Replies Created
-
What’s even more surprising is why you didn’t have a portable monitor in the field.
-
Why not try a 1920×1080 preset? It should give you a comp size of 1920×1080 with 1:1 pixels (square)
BKM
-
Are you just doing pure graphics work? Is there video (HD) mixed into these comps?
I wonder how the show is being broadcast in NTSC? Letterboxed? 4×3 cropped?
My guess is, i that you will still have to design and work within the 4×3 safetitles in your HD comp to avoid your graphics being cut off in low rez delivery. But you will stil have to animate and design for the HD side as well. So it is all quite ugly.
I believe that HD is upper field in Rendering for 1080i.
BKM
-
I think they are a little “tired” and old fashioned, and when thigs are busy or there is a lack of recources, this would be the first project to go. I admit I do love to see the montages, but it’s hard to justify burning 3 mins of air time on a retrospective. They ususally end up being long promos.
BKM
-
About having both, a lot of my clients would insist on editing with one program or another. Premiere especially. “Today I thought we would finish this commercial on this Discreet Edit System, it’ about 250K…” “actually do you have premiere?” “…”
And how many more hours did that project take? If your clients think they can compare Premiere to an Autodesk Smoke then they are not very educated with post production.
BKM
-
Perhaps this might be some information.
Here is a link which may help explain…
https://www.hdforindies.com/2006/10/more-final-cut-pro-color-oddness.html#links
QuickTime Movies Issue
When importing a QuickTime movie created with Shake into Final Cut Pro, users may notice a difference in the displayed gamma of the image. This is because Final Cut Pro automatically lowers the gamma of sequences playing in the Canvas on your computer’s display. The gamma of QuickTime images remains untouched when the sequence is output to video or rendered as a QuickTime movie.What causes this?
Final Cut Pro assumes that QuickTime movies for codecs that support the YUV color space (including DV, DVCPRO 50, and the 8- and 10-bit Uncompressed 4:2:2 codecs) are created with a gamma of 2.2. This is generally true of movies captured from both NTSC and PAL sources. When you eventually output the sequence to video, or render it as a QuickTime movie, the gamma of the output is identical to that of the original, unless you’ve added color correction filters of your own.However, during playback on your computer’s monitor, Final Cut Pro automatically lowers the gamma of a sequence playing in the Canvas to 1.8 for display purposes. This is to approximate the way it will look when displayed on a broadcast monitor. This onscreen compensation does not change the actual gamma of the clips in your sequence.
-
Perhaps this might be some information.
Here is a link which may help explain…
https://www.hdforindies.com/2006/10/more-final-cut-pro-color-oddness.html#links
QuickTime Movies Issue
When importing a QuickTime movie created with Shake into Final Cut Pro, users may notice a difference in the displayed gamma of the image. This is because Final Cut Pro automatically lowers the gamma of sequences playing in the Canvas on your computer’s display. The gamma of QuickTime images remains untouched when the sequence is output to video or rendered as a QuickTime movie.What causes this?
Final Cut Pro assumes that QuickTime movies for codecs that support the YUV color space (including DV, DVCPRO 50, and the 8- and 10-bit Uncompressed 4:2:2 codecs) are created with a gamma of 2.2. This is generally true of movies captured from both NTSC and PAL sources. When you eventually output the sequence to video, or render it as a QuickTime movie, the gamma of the output is identical to that of the original, unless you’ve added color correction filters of your own.However, during playback on your computer’s monitor, Final Cut Pro automatically lowers the gamma of a sequence playing in the Canvas to 1.8 for display purposes. This is to approximate the way it will look when displayed on a broadcast monitor. This onscreen compensation does not change the actual gamma of the clips in your sequence.
-
Sorry. I guess it shuld have been obvious.
PANASONIC
-
We just had a demo of some new (jan 1) P2 Hd cameras and they had something they are bring out called “mobile” It was a card read that runs on Anton bauer batteries and had a little 16×9 flip top screen and a jog, shuttle tape transpot controls on the front.
It had HDSDI and I think all the other ins and outs. And it read all teh availbe P2 flavors.
Should be making some annoucment at IBC in the next week or so.
BKM
-
Eventually means in a v3 update with my existing licence or is there going to be a Sapphire 4?
BKM