Craig Harris
Forum Replies Created
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[Walter Soyka] “I don’t believe that the choice of acquisition frame rate should be made on purely artistic merits without also considering the technical ramifications.”
I agree.
His point however had to do with the media not looking like ‘film.’ The main problem there is the choice of camera and acquisition.You can always create multiple versions of your delivery (23.98, 25, 29.97, 59.94).
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[Juan Salvo] “I haven’t known Smoke to be particularly well suited for FRC (frame rate conversion), Teranex is adequate. I use Snell Alchemist, which IMO is the best possibile converter in most cases.”
Juan,
Smoke is very adequate for versioning. So is Snell.
A team I was working with recently versioned a documentary through a Teranex which failed a German network QC. We ran it through the Smoke and passed with no errors on the QC report.Craig
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[Juan Salvo] “While the new mixed frame rate mode allows you to round trip mixed frame rate sequences in their native frame rate, it doesn’t mean resolve now has teranex like frame rate conversion”
Juan is right.
It’s best to do a proper frame rate conversion prior to your edit if possible. My belief, in having the option to mix frame rates, is only for preview purposes. Use a tool like the Terenex or Smoke to do a proper conversion, create new media (proper timecode and reel id’s) and then insert into the edit.Craig
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[Phil Mastman] “Perhaps the c300 footage was shot with Canon log…”
He’s not talking about the Canon C300.
The camera being used is the XF300 which is a prosumer video camera. -
[david hare] “The problem im having is that the xf300 although amazing picture quality it looks too much like video rather then film.”
It looks like video because it is video.
There’s a reason cameras like the Arri Alexa cost so much. I love the EPIC, but it too looks more like video than film. If you want to get a film look, you should start by shooting at 23.98. Make sure to create an image that is as close to Log colour space as possible. In other words, don’t shot with high contrast. Then you should invest in some good film grains and overlay those on your image. Finally, the colour grade makes a huge difference in how the image is perceived.Hope that helps.
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[Brent Dunn] “Pushing the H.264 files can cause problems too.”
The 5D footage is incredibly tricky to work with.
I colour grade a lot of projects and always cringe when I hear a project was shot with the 5D. There are time consuming ways to improve how 5D media responds, but time isn’t usually an option.Craig
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[Barrie Williams] “I like the new features, but v9 is not quite ready to be released yet.
We too are rolling back to v8 for a while.”I’m happy we didn’t upgrade our main system.
Have been testing V9 on a secondary machine and notice the same problems. Still beta. -
[Peter Berg] “Agreed. And unfortunate that they dumped version 8 so quickly. 8 was VERY solid and working great (except for the audio bug that we found with UltraStudio). At least support 8 until 9 is solid. Some people make a living with this software.”
Completely agree.
That is not a slight in any way towards BM. I love you guys!Just need my toolset to be as solid as V8.
Craig
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This is still a beta version IMHO.
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DaVinci won’t read all the AVID effects. That is probably why you are getting the error messages.
Craig