[Craig Ricker]

Ahhh shame.

When I click on the HSL node and use the eye dropper in the fx room, it shows me the primary and secondary corrections on the footage. It doesnt seem to show the orginal file as you say?

Any suggestion on that one?

[Craig Ricker]

Ok, so I’ve gone through and learnt majority of color. I have a question though i cant seem to find an answer to online, that would help me greatly.

I create a nice HSL key in the secondary room, and keyframe a vignette around the nails as they move (massage scene) (shoots himself). Now i’ve shifted the color from a deep red, to what I think is a satisfactory palish pinkiness. But, the killer here is that the nails still have the shine, as if they are painted, and I was hoping to remove this or at least reduce this, with the use of a blur FX.

So my question is, how do I get the FX room to use only the HSL key I have created in the secondary room?

I notice the HSL key node in the FX room, but this makes me create a new HSL key AND it continues on with the modified image from the secondary room, which means I have no RED nails to select a HSL key from on the FX room.

How do I go about using the HSL key matte input from the secondary room and its vignette, for use in the FX room?

[Craig Ricker]

I know how to use mocha well. So do I track the shots and attach the masked secondaries over the originals?

[Craig Ricker]

I’ve never used color but happy to learn if this will solve the problem! The only time I looked at color I noticed secondary to make a vignette? Is that how it works, inside a vignette?

[Craig Ricker]

Thanks for the replies guys. I went ahead and bought these sticks and a manfrotto 701hdv head. Any suggestions on where I can find a leveling in between unit?
Oh and what’s a jumar? Do u mean a carobeeaner?

[Craig Ricker]

Hey mate,

I’m not going to go into detail now, but just google GH2 hack, and go from there.
If you buy yourself a 64GB sandisk pro extreme (95MB/s card), with the latest hack, you can record 720p 60fps at ridiculous quality:

Top quality AQ3 720p burst w/ Seaquake
60p: 3 gop, 230k bytes* per frame, 7 seconds minimum
50p: 1 gop, 280k bytes* per frame, 9 seconds minimum
30p (80%): 1 gop, 770k bytes* per frame, 9 seconds minimum (original part of seaquake)

This turns a GH2 into a very cheap version of a RED camera. Something you dont want to miss out on, for just $200 on a new SD card and a hack 🙂

All the best

[Craig Ricker]

Hi guys,

I have a quick question in regards to editing the GH2 stuff.
I see that FCP 7 can transcode directly via log and transfer, and it sets the sequence compressor to apple pro res HQ.

I have a crappy dual core 2.4ghz at home, which can edit pro res lt fine. So what i’m wondering, is whats the best way to do an offlline online edit, by converting the avcs intra to pro res lt, and then reconnecting it to a pro res HQ version.

As far as I was aware the camera cant put out 10bit, so I dont see the point of using HQ, just plain 422, should do the trick for bit rate, with the lower data rate of driftwoods hack (44Mbit).

So what is a good process here.

I havent bought the camera yet, but i’m looking into it real soon, just trying to make sure life wont be too complicated due to my crappy computer 🙂

Can apple compressor convert avcs intra to apple pro res?

[Craig Ricker]

But your assuming that blending 2 identical fields together will reduce the quality of the xdcam. If you blend or dont blend 2 of the same field, I cant see how it affects the frame. So putting a deinterlace on true progressive material, shouldnt do anything, or am I missing something of what a deinterlacer is doing?

[Craig Ricker]

Ok thanks for that info.
Now will the deinterlacer cause any quality loss on already progressive footage?
I.e the xdcam footage (which is majority of the project) is progressive. So when I flag the sequence as upper field i’m assuming, when I export the clip off the timeline, each field will still be the same even though its in a 50i clip. So when the deinterlacer in compressor kicks in, and does the multiple methods of field mashing, will that “essentially progressive frame” look any different, from its original.

One thing I did forget to mention is that, the output will be also for the web, in which it’ll be a 1280 x 720 size in a h.264 format. So i’m trying to avoid any quality loss as you can imagine.

many thanks

[Craig Ricker]

Ok so heres my game plan.

I’m going to set the sequence settings to “field order = upper”, and apply a shift field filter of +1 to all the DV Pal footage. The XD cam progressive footage, will be fine sitting in the upper field sequence as, both its fields are the same regardless of which order.

Then I export off the timeline, put the movie file in compressor and use compressors deinterlace filter, to make a progressive Mpeg 2 clip, which I burn to DVD.

I understand DV Pal DVD’s are lower field first, but as both fields will be the same, it’ll appear as a progressive clip will it not and therefore look good on all computer screens.