Chris Fera
Forum Replies Created
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Hi Jeff, this film was shot HD 1920×1080 with the 5D Mark II so the vista vision sensor gives us a full frame to work with. We used 2:35 reference bars on the monitor but now looking at the film we would like to try the 2:1 and see how it looks. I am not sure what you mean by OPTION 2x click. Is that a way to adjust the widescreen filter? I only see 1:66, 1:85, 2:35 and 2:45. I don’t see 2:1… thanks!
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Thanks a lot Rafael, that’s good to know, so I guess when I send back the color rendered project to fcp I will have to manually remove all the 3W CC filters I applied to the clips, right? I just want to make sure I don’t mix up the two different color corrections…
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Hi guys, it was my real time audio tracks… it was set at 8. I changed it at 16 and it’s all good now. Of course I am not using mp3 😉 only wav thanks a lot!
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Thank you. This was very helpful. I totally got it. I am at stardard res right now and I don’t see any difference with HQ so I’ll make HQ only the sequences that will require more work in post.
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Hi guys, thanks for all the feedback. Nice work. My question though is still unanswered. Do you think you can mix Pro Res standard and HQ on the same timeline with settings at 422HQ? I think it makes sense to go HQ with sequences that will require more manipulation in post and stay standard with the rest as I really don’t notice any difference between the two once the material is screened. HQ really takes a lot of space and more time to digitize…
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Thanks a lot! This makes sense. I should have done that. However I am already half way through with editing. I started HQ but then I realized it was taking way too much space on my two 2tb hard drives… then I went down to PRORES standard and I digitized all that was left with this codec. Now is it OK to keep editing mixing the two together and then conform everything to 444 to HQ? In this case should I leave my timeline settings to HQ (the way I started) or change to standard? Thank you so much for your expert advice.