Byrd Mcdonald
Forum Replies Created
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I just learned about the Cinema Tools database approach. We are at the finishing stages of post, and I’ve read around that it’s incredibly tedious to build such a database at the end of post as opposed to the beginning.
I’m interested if people have used apps like Editrace. Change Note Assistant, etc, to generate change notes?.
I’m also interested in the fact that apparently Avid has a change note feature built under the hood, and Final Cut Pro does this through Cinema Tools, and if Cinema Tools can only be used to track track1 picture changes.
Wondering if anyone has developed an XML plug in as well.
Any other thoughts guys?
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Thanks so much. You nailed it. The footage was imported from P2 using an early version of Final Cut Prol. I had never heard about that bug before, so thank you so much. Furthermore, your trip to add a filter and turning it to zero removed the double frame issues. I used a contast/ brightness filter turned to 0, which had no effect. Baffled by how that would solve the problem, but don’t need to know, cause it did.
To answer another question, I’m using a native dvcpro hd sequencee (the preset for 23.98 frames per second.). My render settings are all set to 100%, and rendering everything, including FULL, gray bar effects.
Problem solved, but what a large bug. Surprised I hadn’t read about that before as I’ve followed P2 avidly since it appeared on the HDX 200.
Best,
Byrd
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I’m seeing the same problem. It’s always the last frame of a dissolve. I’m editing native in a 24p timeline in dvc pro hd. it only happens some times. don’t know why it would be a “field” issue as it’s all progressive frames. very odd.
anyone else?
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Walter –
Disagree, but I feel your pain.
I think that a big problem with “color correction” in general is a lack of education in this arena. Certainly in my market in Portland, Oregon, there isn’t another discipline more shrouded in mystery than that of a colorist. I know what a colorist can do – it’s amazing and worth every penny of a a da vinci rental. S
o, a bunch of kids will get color and create a bunch of “looks” that will ultimately be schlock, and the talent will reign, per usual.
And everything will be right in the world.
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Gary, you should write! You’re funny!
But quite sayiing that Walter is a shill for apple. That isn’t true, dude, and you know it! Walter is the Gandolf of Creative Cow, and if you have ever seen GOOD EATS, you know of his talents.
****
But otherwise, thanks y’all for the thoughts and feedback, and empathy.
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Thanks for the messages guys. Yep, hindsight is 20/20, and there a bunch of differenet ways I could have handled it. I blew it. I know that.
But, what I’m really interested in is the general consensus about how it’s ok for Apple to stop offering the cross-grade at all. How is that fair, whether someone migrated within the first 6 months of the Intel releases, or if they waited? And, if you are an active post house, on a full time job where you can’t afford to be without those discs, how can you send them in?
We only sent the discs in March because were have been posting a feature film with a tight deadline. What happens if something goes down and you can’t re-install?? For this reason, we sent the discs when we COULD, in my mind, and when we BOUGHT a new computer. It wasn’t the right time before, it is the right time now, and it’s unavailable. And I can’t grasp how this is anything more than Apple wanting me to buy twice for an application.
I need perspective, anybody got any.
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Jan,
I just shot a feature with the camera. We shot 92 rolls, had a great time with the camera.
In post, we are finding reallly odd glitches on footage from 10 of those roles. It’s a very specific pattern of small ‘greenish’ boxes that are there for one frame and then gone. They are over the footage, look like they have been superimposed.
I just found this thread, and went to try putting the original roll back on the P2 card, but OS X tells me that NO NAME can’t be modify (the p2 card that is.)
Do you know how to overcome this?
Best,
Byrd McDonald -
Ditto. I received my first issue of Creative Cow Magazine, and I was mightily impressed. I feel like this publication will really fill a niche that is not getting the info and support it continually craves. I wish you great success and will tell everyone I know to subscribe!
Byrd Mcdonald
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Thanks for the quick response.
Yes, I’m sure that the Kona 2 would provide a better end result, and I’m sure the AFter Effects method you mentioned would work as well.
I guess I’m still wondering what the best method for transcoding/ downconverting in FCP would be. It is capable of DOING a downconversion, but I’m just curious what the BEST method within FCP would be.
B
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A tangent question about 16.9
I just cut a 16.9 show for a client that has previously been skittish about the format. We only convinced the client to shoot and post in 16.9 because the video will be playing at a convention that has wide screen plasma monitors as playback.
My question is how to handle the fact that, while the premiere venue for the video will be a 16.9 monitor (and thus, I will lay off my show as an anamorphic show that will play right on a 16.9 plasma, how do I handle a lay off for the rest of the clients needs, i.e. DVD dubs of the video. Do I simply lay off both shows on the master, labeling them “anamorphic” and “letterbox?”
Strangely confussed about how NOT to make this difficult for the client.
Byrd