Dale Mccready
Forum Replies Created
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Oops, yes thank you for correcting me, my problem previously with back-focus was a zoom lens. But I have tested the Varicam and did feel that on low detail settings the image got smoothed out a bit too much for me and lost some “pop” but this is a personal opinion only.
So the back focus on primes is really just to calibrate the focus measurements? Thats a new tip for me, thanks.
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In theory shouldn’t the ramped footage just be marked as flagged or dupe just like any other off speed shooting but with a different distribution of flagged frames as the ramp progresses? I would test to see whether the software convertor through firewire just throws away the dupe frames as it normally does resulting in a ramped clip on a 24FPS project.
Test it and let us all know!
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Is the lens good quality? Hopefully. If it is a set of prime lenses such as the zeiss primes then it costs very little extra time on set to adjust the back focus every time the lenses are changed. it’s hard to pick when it is out on set from the monitors and is critical to a good resolution of the image. A little time spent ensuring the back focus is correct saves a lot of heartbreak later. As posted above detail settings in the camera have a good range, so it is possible in an effort to soften the image a little to lose all sharpness if done overtly.
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Can you convert and cut at 23.98 and then once you’ve finished your edit use After Effects or Cinema tools to output 25FPS?
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Hello,
The main issue is sound. If you are able to work cutting in 24FPS and then convert your final back to 25FPS then the Firewire option is good for cost and ease. I have done a few PAL projects where I was able to work at 24FPS and then do a final output that was retimed to 25FPS but I was working with material that wasn’t critical for sync. I slowed my sound clips before cutting (they were not from the shoot) and cut to that, then retimed the video and replaced the sound with the original. This can be a pain of course.
If you are outputting to DigiBeta and are able to afford the outlay or hire of decks and RAID drives and a good Blackmagic card then it would be simpler to work in a BM preset (there is a specific 720P 25FPS Varicam 10 bit one) and capture via the card and stay in that system throughout.
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What a hassle,
Since the problem I had was a fickle folder management problem I’d look for something just as simple/weird to be the cause. Sorry I can’t be of more help.
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When shooting, was the setting the same for everything? I’m just trying to ascertain whether anything could have changed in the files themselves rather than with FCP. Previously when you have been converting the files, they worked. Were they shot at the same time, on the same camera? Were they part of a larger batch?
Honestly it sounds like somethign strange in FCP, but also did you digitize these files seperately from the others?
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That is feasible, the downside being the extra light needed to expose the camera at 60FPS if the shutter is at 180 degrees on the camera and also the motion will seem smoother than normal film style shooting being temporally samped at 60FPS rather than 25FPS. This look can be considered more “video” (not my term for it) and some people don’t like it.
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When you shot with these files nothing was changed on the camera either?
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Can you do a preset that will ingest via firewire at 25P? I’m possible doing an ad on Tuesday that would be great on the Varicam, especially if I could do the post too at 25FPS. I’ve only managed to do 59.94 and then frame convert to 23.98 in FCP