Darren Edwards
Forum Replies Created
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Sounds like a comfy chair and a good book, then.
Paul Wheeler’s got a new HD/Cinematography book out.
I’m also reading Safran-Foer’s ‘Incredibly Close….’Both good reads.
D.
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Even the Firewire VHS recorders I’ve captured from weren’t
controllable via PPro. Why do you have to sit there whilst
it’s capturing? Stick an alarm clock next to the computer.Darren.
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There’s also a remarkable difference in terms of render times
from 6.5 to 7.0. Ostensibly to optimise screen-space real
estate, AE7 is the first version to introduce attachable windows
which all shrink and grown proportionately if just one window
is resized…The idea permissibly looked great on paper, but
I thought, and still think, that it’s a daft idea. And is
absolutely anathema to Premiere Pro. Thankfully it’s possible
to disable it.AE7 also behaves real well with mixed definitions and frame
rates in the same project. During some of my lazier moments,
if I need some motion graphics for, say, a SD 25p PAL project,
I’ll grab a 720p NTSC something from the Riot Act DVD and
then sort out the timing issues via the Time Remapper tools.
Speaking of which, the new graphs (editable with bezier curves)
are a joy with something like the Time Remapper; checkout
the tutorials at http://www.videocopilot.net which Andrew Kramer
has produced, featuring (for the most) the newest tools in
AE7. (To download the videos screen-capture them with some-
thing like Fraps or Camtasia).Darren.
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Glad to hear it turned out okay. Most have us
editors have one of this ‘oh, for f**k’s sake’
moments at least once a week. For me, this
week’s was all about screen-capturing Google
Earth animation. Camtasia was rubbish, Fraps
was better.Cheers,
Darren.x-gf.com
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– Interesting… although I wonder if the “good results”
– of your DSR450 can be played on other DV players with equally
– good results? How is the compatibility of the 24p-flavors
– from device to device?Where did you get “good results” from? I called them ‘lovely’.
Our old 450 is ageing quite nicely, I have to say, especially
with a good HD lens on the front. It’s not HD, or even digibeta,
but anyhoots: aside from the world of pain which is our Z1e’s,
the 450 is the only DVCAM appliance left in the studio, and as
it doesn’t do 24p without an expansion board, I can’t comment on
capatibility with other players (by this I assume you mean DVCAM
VTRs, were there shouldn’t be any issues, anyway. Playback
from miniDV camera might have the usual DVCAM/MiniDV mechnical
speed-of-recording conflicts, of course.)– I still am curious if there is any method to determine how/
– what-format was recorded on the DVCAM tape I have here, as
– I believe the tape I have is labeled incorrectly…or more
– specifically: it has no technical notes, regarding format.
– And I have to finish this job by monday.Well, it’s Monday as I write, so hopefully you got it sorted.
Although, as it would only take a couple of deductive trail and
error minutes to ascertain if you’re footage was 23.98 or not, I’m
not sure what the problem is. You grab that Panasonic 24p plugin,
open a 24p project and try capturing the footage. If it
doesn’t work, it’s either been downcoverted badly, or, your
VTR is not fit for the job. The 24p preset looks like this,
by the way:
Edit-suites were never built to auto-detect frame rates,
although this is now academic with FCP 6 and AVID where it’s
possible to drag mixed frame-rate, mixed definition footage onto
the timeline – which is an amazingly exponential evolution,
really.– Is there a method of determining this?
High-end VTRs and monitors are configurable to different frame
rates.– And; what happens if I capture 24p material incorrectly, let’s say
– as standard ntsc-dv @ 29.97 with the Prem preset?Try it and find out. You’re PC won’t blow up as a result. You’ll
either get nothing, or more probably, stuttery playback in
need of pulldown.– Maybe Premiere is smart enough to recognize the 24p format, and
– would otherwise refuse to capture the material as normal dv?If you’ve the Panasonic codec installed it doesn’t need to be smart
enough. For future purposes: if you can’t find the plugin online
let me know and I’ll root around my archive folders for it.Cheers,
Darren.x-gf.com
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There’s a standard-def ‘Panasonic 24p’ driver
available for PPro. It’ll allow you to ingest
and work in 23.98fps without any hassles. It
even does 2:3:3:2 pulldown for monitor previewing.
Search around adobe.com for it.Not all DVCAM hardware is unavoidably interlaced.
Our DSR450 records a lovely 25p image to DVCAM
and miniDV.Darren.
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All good advice, cheers.
A couple of clarifications:
– We’re UK based, so if it’s pulled anywhere, it’ll be to 25p
PAL.
– The stock will be processed and telecine’d professionally.
(If we’re up north it’ll be The Finishing School, Leeds; if
we’re down south it’ll be The Widescreen Centre, London).Would be interesting to hear from anyone with any 8mm/AE
experience, although I doubt there’s many around.Cheers,
Darren.x-gf.com
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I’ve been ingesting 25p XDCAM stuff into PPro for about
a year, and in my experience, there’s no difference in
files sizes between ‘p’ and ‘i’ stuff, which includes
converts to MPEG2 and WMV, etc., especially at standard
def.Darren.
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is quite useful for sound FX, audio clips and various other
oddities.Darren.
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I really hope – hoped – H.264 (and subsequent [quicker] codecs)
would kill off DivX once for all. We’ve had loads of problems
with DivX nagware, Dr.DivX instability and DivX codecs cocking
up our Canopus software to last a lifetime. Let the pirates have
their fun with it, but keep it out of the pro domain, I say.
Maybe I’m wrong.Darren.
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