Chris Smith
Forum Replies Created
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Sorry if this has been talked about. But will the Red Rocket card have any acceleration value in the resolve system? If so, I want to keep it in the box but then I run out of slots quickly. If not then I may put it to a separate box just to do dailies or conversions.
Chris Smith
https://www.sugarfilmproduction.com -
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Just a side note. Tony Scott and some others are shooting handcranked but with modern cameras and stocks. Like in Man on Fire. You can get an ARRI 435 modded so that you can turn the motor with a crank. So they do that and purposefully crank it “not very smooth” for an extreme effect. But just pointing out it doesn’t need to be an “old” camera.
Chris Smith
https://www.sugarfilmproduction.com -
Well, if you put the top layer to multiply and set both layer’s opacity lower than 100% you are getting the combination effect. Like with yellow over blue. Yellow to multiply and it’s opacity to say 75% then set the blue to 75% and you get a green. Then you can reverse the colors and it will have the same result.
The color is darker than the original 2 which would happen optically. However it seems the saturation is lower than the 2 where optically I would think it would be the same or richer (increased color saturation).
Chris Smith
https://www.sugarfilmproduction.com -
You’re probably right. If the blue over yellow resulted in the same green as yellow over blue I would say the transfer mode works but since it only works one way, that blows the deal. Now I’m curious to find the right solution 😉
Chris Smith
https://www.sugarfilmproduction.com -
The ‘Vivid Light’ transfer mode seems to do it for me. Yellow over blue makes green.
Chris Smith
https://www.sugarfilmproduction.com -
DId you try the different transfer modes? There is unique math to each as how each color lays over another color.
Chris Smith
https://www.sugarfilmproduction.com -
As an additional note you may be wanting pullup and not pulldown. Pulldown is trying to fit 24 inside of 30. Whereas you are trying to convert 30 to 24, no?
Chris Smith
https://www.sugarfilmproduction.com -
well 3:2 pulldown uses the fields then fails to be progressive anymore (on 2 frames at least). So often it’s 3 real frames with 2 half frames as another frame is shared between 2 others by splitting time in the fields. Which creates interlacing which I hate personally. You can try a speed effect and go frame by frame and see what it is doing. But in Avid when ever I use speed changes I always set it to frame render instead of field render. It’s less “Smooth” but more film like. Normal video motion is often not wanted because it’s “too” smooth by showing 60 changes a second. So I shoot and transfer 30 because I find 3:2 to be the devil (unless trying to conserve budget on film stock and I have nothing to do with post i.e. not having to remove pulldown all the time myself).
Chris Smith
https://www.sugarfilmproduction.com -
Change the speed of the layer to 80% instead of 100% whithin a 30fps comp. It may not follow a perfect 3:2 pulldown cadence, but does it matter? You’re just going for a speed change, yes?
Or if you are NOT going for a speed change but just wanting to see less frames a second, use the time posterize effect and set it to 24. But in this case, you will still have the motion blur of 30fps since that’s what you shot it at. But really there is almost no perceptible difference. That’s why for TV we roll our film cameras at 30fps and not 24fps and transfer at 30 as well.
Chris Smith
https://www.sugarfilmproduction.com