Chad Carlberg
Forum Replies Created
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Figured out my own thing. So now I tell you so others can know. Maybe it is right. Maybe not. But it works because I got what I wanted. No duplicated RGB.
1) Precomped a keylight matte with a careful internal garbage matte ADD in the garbage to the Keylight.
2) Precomped all my whales
3) Put my foreground mask later (precomp from (1) on top olayer and turn it off.
4) Set the track matte for Whale Precomp (2) to Alpha inverse of the FG mask.BAAAAMMMM.
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Chris,
I’ll bet you got all the answers you needed. I’d love to know what you worked out. I just shot a spot using red one for 120fps capability. It’s going on web, NTSC and HD tv. After shooting P2 for three years using every possible config and making mistakes conforming for things that shouldn’t even work, changing frame rates, and using compressor and QT, and even handbrake to export or build files to edit in FCP, I’m pretty confident that all will be well no matter what route we take (or you take). My philosophy is to do things that look good, and not necessarily using the BEST technology available. The result is that we are capable of doing really amazing looking stuff for the money that most technicians would consider impossible given our inexpensive workflow but we never have trouble getting our work to look stellar on TV for most people’s eye.That said, I just converted using FCP ProRes HQ in 2:1. And now I want to edit using FCP and export 720P and 29.97 NTSC. I assume you did the same at some point and want to know what wsa the best way in your (or anybody’s) experience. I particularly interested in creating files that don’t take forever to ingest and I want them to look good. Despite my previous point, I am still a stickler for getting the best image I can. I just prioritize a good shot and good creative over good technical workflow since we generally only have budgets for one or the other.
Cheers.
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Ignore Pierre for a second,
Skip After Effects. Shoot 24PN at 60frames. Import p2 from FCP. Watch it in a 24P sequence. No render. perfect 2.5x slow. It will cover 60 frames exactly.Just for kicks, import it into a 60fps timeline, it will be exactly one second.
p.s. Pierre obviously knows 10,0000x more than I. I’m not even placating him; that’s true. But this is one thing that I know very well. I do it for a living. My company is Slow Motion For a Living With FCP and HVX200, inc.
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Ignore Pierre for a second,
Skip After Effects. Shoot 24PN at 60frames. Import p2 from FCP. Watch it in a 24P sequence. No render. perfect 2.5x slow. It will cover 60 frames exactly.Just for kicks, import it into a 60fps timeline, it will be exactly one second.
p.s. Pierre obviously knows 10,0000x more than I. I’m not even placating him; that’s true. But this is one thing that I know very well. I do it for a living. My company is Slow Motion For a Living With FCP and HVX200, inc.
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That was all very confusing. The reality is this: I know from a lot of PRACTICAL experience that shooting 24PN with a frame rate of 60FPS gets you EXACTLY 60 whole frames per second, which, when added to a 24frame timeline gives you PRECISELY 2.5x slow mo. 48 gives you 2x, 36 1.5x etc.
Just try it. Waste less time. You’ll see that I’m right. There’s no interpolation involved. Period.
p.s. when you are shooting slow-mo, always shoot PN. When you want to shoot the effect of 12fps, shoot it 24P. Shooting 24PN will give you 2x speed rather than frame double.
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That was all very confusing. The reality is this: I know from a lot of PRACTICAL experience that shooting 24PN with a frame rate of 60FPS gets you EXACTLY 60 whole frames per second, which, when added to a 24frame timeline gives you PRECISELY 2.5x slow mo. 48 gives you 2x, 36 1.5x etc.
Just try it. Waste less time. You’ll see that I’m right. There’s no interpolation involved. Period.
p.s. when you are shooting slow-mo, always shoot PN. When you want to shoot the effect of 12fps, shoot it 24P. Shooting 24PN will give you 2x speed rather than frame double.
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I don’t know the camera system, but if your camera shoots 60 progressive frames per second, you’re not doing any time remapping, you’ll edit in a 24frame timeline and those 60 frames will happen sequentially, slowing you down to exactly 2.5 (24+24+12=60) times real time. This is the way to go unless you want to slow it further.
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I don’t know the camera system, but if your camera shoots 60 progressive frames per second, you’re not doing any time remapping, you’ll edit in a 24frame timeline and those 60 frames will happen sequentially, slowing you down to exactly 2.5 (24+24+12=60) times real time. This is the way to go unless you want to slow it further.