Damien Molineaux
Forum Replies Created
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I think we need a petition for both Apple and Black Magic Design, asking for BRAW to be read within FCPX and for ProRes Raw to read within Resolve.
On a side note is is interesting that Sigma has announced that the latest firmware forthe fp will allow for both ProRes Raw recording and BRAW recording via an external recorder (Atomos Ninja V for PRRaw and BMD Video Assist monitors for BRAW). I wonder if any camera that outputs a raw signal will also be compatible with BRAW, or if they will become compatible. I’ll add that having started using a BMPCC4K recently, after extensive use of Red and Sony cameras, the BMD menus are a pleasure to navigate, this makes their Video Asssit monitors very inetersting tools, especially with the option of recording BRAW.__________________________________________
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
c-sideprod.ch | earthling-prod.net | kinogeneva.chMacOS & Windows
Adobe CC / Davinci Resolve / Easy DCP
RED MX / DigiBolex / Sony FS5 / BMPCC4K -
Thank you to all for the precious input in this thread. We are still using a cylinder 2013 MacPro, which has mostly served us well. Given the current situation, it is not time for us to invest in the very powerfull, upgradeable and expensive new MacPro, so we’re trying to get everything out of this one that we can.
We are currently working on a 4K feature, with a lots of noise and grain treatment, this has definilty pushed this machine to its limits and we have been having a lot of glitches (colors lines) appearing in the exports.
Agter reading this thread, I have installed iStat Menus and set the fans to 100%, I have set the rendering in Resolve to 50% and deactivate one of the D700 cards and it seems my latest render has no glitches (still looking though it), and suprisingly the export didn’t take longer than with the previous settings, 7 hours never the less…
So thanks again, to Creative Cow also, for keeping threads such as this one readily available.
Cheers__________________________________________
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
c-sideprod.ch | earthling-prod.net | kinogeneva.chMacOS & Windows
Adobe CC / Davinci Resolve / Easy DCP
RED MX / DigiBolex / Sony FS5 / BMPCC4K -
Hi Laurie,
I take it you are on Windows… Then the question is wether your Firewire card is recognized by your application (on Mac you can simply use a thunderbolt to firewire adaptor and that will be recognized by most applications). Which card are you using? Have you installed the correct drivers for your system?
I am not familiar with Pinnacle, do they not offer some kind of software with the card (like Blackmagic does with their Express software), that can be used just for the capture process?
Cheers,
Damien__________________________________________
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
c-sideprod.ch | earthling-prod.net | kinogeneva.chMacOS & Windows
Adobe CC / Davinci Resolve / Easy DCP
RED MX / DigiBolex / Sony FS5 / BMPCC4K -
If possible to capture via a DV cable it is preferable. DV (and HDV) are encoding methods. Your video data is encoded in camera to DV tape, when capturing via DV cable, you are simply copying that data to your hard drive.
If you capture via another method, the data is read and converted to a video signal which is then transfered to your computer and re-encoded via software, your data therefore goes through a double process which is potential for data loss.
I think Blackmagic express still works via DV and so does FCPX, and if I’m not mistaken even Premiere still recognizes a DV input. I forget which method I used, and haven’t check what my colleague was using recently, but we are stil capturing DV tapes every once in a while.
If you need assistant please explain what probems you are encoutering and your setup and I will look into it.
Cheers__________________________________________
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
c-sideprod.ch | earthling-prod.net | kinogeneva.chMacOS & Windows
Adobe CC / Davinci Resolve / Easy DCP
RED MX / DigiBolex / Sony FS5 / BMPCC4K -
Hi,
It’s a bad idea if you’re using software that uses the metadata outside the mxf file itself, such as FCPX. I’m in charge of the workflow (and futur grading) of a 5 episode documentary series where the director is shooting himself with no assistant, result: there are a lot of duplicate file names. I use “Renamer” (MacOS) to rename all files, I add the day’s date to all the files, which also helps for sorting the footage. This is done before sychronisation and ingest into Avid.
Cheers,__________________________________________
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
c-sideprod.ch | earthling-prod.net | kinogeneva.chMacOS & Windows
Adobe CC / Davinci Resolve / Easy DCP
RED MX / DigiBolex / Sony FS5 / BMPCC4K -
Hi,
I’m currently doing precisely this on a project. I received a ProRes4444 scan from the lab (from 16mm film). I used the scene detection option before importing into Resolve. I adjusted where necessary, mostly removing unwanted cuts, but also adding a few Resolve did not detect.
I made a quick pass to adjust the image which was scanned flat, to have decent looking images for editing and exported proxies for editing (in ProRes LT at source resolution), and then I’m making a second export, without any grading, at source resolution and with the “do not reencode” option checked to create new source media which I will use after the editing to conform back to, before final grading. For bot the exports I use the same naming optons!______________________________________
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
http://www.c-sideprod.ch | http://www.earthling-prod.net -
I came upon the same problem again today, and after reading through this thread found my solution, which IS NOT by renaming, not only did that not work, the TIFFs were still imported as a sequence, but would have been time consuming. No, the solution is to check “Show Individual Frames”, that option is in the 3 little dots at the top right of the Media Storage page. You then need to import the files by selecting the contents of each folder, folder by folder. If you import a folder, its contents will be imported as a sequence, but if you import the files, (you can select all the file in one folder and import them at once), and then you import your XML, (without importing the media), it will relink to the TIFF files in your media storage.
Cheers______________________________________
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
http://www.c-sideprod.ch | http://www.earthling-prod.net -
Hi,
If my try to explain more precisely. SD digital standards, in both PAL and NTSC use non square pixels.
– For PAL 4:3 it’s 720×576 and upon screening the image is stretched to 768×720, pixel aspect ratio 1.06
– For PAL 16:9 it’s 720×576 and upon screening the image is stretched to 1024×576, pixel aspect ratio 1.42
– For NTSC 4:3 it’s 720×480 and upon screening the image is squeezed to 648×480, pixel aspect ratio 0.9
– For NTSC 16:9 it’s 720×480 and upon screening the image is stretched to 864×480, pixel aspect ratio 1.2To add still images to video, you start off with the square pixel resolution, in the case of PAL 4:3 that would be 768×576, and you squeeze the image to 720×576 so that it matches the video pixel aspect ratio.
Cheers
______________________________________
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
http://www.c-sideprod.ch | http://www.earthling-prod.net -
Hi Dave,
I know all that. Longevity (of my work) is one of my many concerns. I am also making masters in HD and researching how to make an on-line version, at the same time, an interactive website is even less likely to still be accessible in ten years time. I am in the business (among others) of making DVDs, and the reality is that I’m still getting regular orders of DVDs. As I’m mastering this one, I have an order for 200 copies of another project. Since the begining of the year I’ve burned 1000 DVDs and I’m out of stock right now I have to make a new order. I’ve also had a factory press of 1000 copies for another client. I’m not pushing DVDs, I just answer demand.
I do think however, and this is what I’m told also, DVD remains the most easy to use and reliable way to distribute moving images at an international level. Many countries have slow internet access, and old computers that cannot read all this high quality, high bitrate videos that are online now.
Some of the obsolence of computers, OS and software is artificial, to make us shell out money. I still had a perfectly functioning iPhone 4 until last year when I lost it and a 7 year old MacBook Pro, which I had boosted with ram and an SSD, which finally broke down and Apple does not provide replacement parts, but the machine is still capable, and I work with video, which is demanding. I may yet have it repaired via an independant service. I’ve also decided to upgrade a 2010 MacPro, I will have a more powerfull MacPro than the latest MacPro, for approximately $700, with 12 cores, 96 GB ram, an 500 GB SSD + 3 slots internal HD bays, a Vega 64 card + 3 PCI slots (one with a USB 3 card). So no I don’t buy into being told that FCS 3 or certain hardware and software too old and out of date. If it works and allow me to to what I need, that’s it.
Cheers,
Damien______________________________________
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
http://www.c-sideprod.ch | http://www.earthling-prod.net -
Final Cut Suite is NOT DEAD.
Hence all these questions as many people are still using these applications. Applications in use are not dead.
I’m currently editing a DVD, on DVD Studio Pro, with 3.5 hours of video, 28 menus, 3 films and 73 stories and last but not least, 101 scripts. It’s a complex archival DVD of Noemi Lapzeson, a famous dancer’s teaching method.
Cheers,
Damien______________________________________
Filmmaker, DoP & Colorist
Based in Geneva, Switzerland
http://www.c-sideprod.ch | http://www.earthling-prod.net