David Battistella
Forum Replies Created
-
-
you could try this, but I doubt that it is frame accurate.
You maight be able to get close and then figure out the offset in FCP when you gang sync the clips to do the line cut.
One thing you can do is record TC to audio ch 2.
David
Peace and Love 🙂
-
No probs Barry.
david
Peace and Love 🙂
-
The Light Panel would be a really nice choice for this. Smooth, daylight balanced and bright. Downside might be that a single light is worth about 1000.00, upside, if you were to run the light continously it would illumiinate for about 11 years.
David
Peace and Love 🙂
-
is this in the canvas or on the external monitor?
David
Peace and Love 🙂
-
barry,
the film maker I was talking about was using a SONY TRV-900, which did allow bw recording.
David
Peace and Love 🙂
-
Thanks Liegh. That was the exact information (detail) That I could not remember off hand.
David
Peace and Love 🙂
-
The best thing to do is have a BW calibrated monitor on site. Shooting in Black and white will affect how you frame your shots so you should reference your framing on a BW monitor.
I know a very prominate filmmaker who uses his DV camera to create BW movies and he does actually shoot in BW for this purpose. He does this knowing that the lack of color information will have a dramatic affect on how he choses backgrounds and how to frame images and light interview subjects. I also free’s him to use a variety of filters and practical sources because the color does not affect how he is shooting.
These practices come from years of experience and much trail and error and is an advanced way of filming. There is definitely a distinct look to the films made on video shot in black and white. I would experiment, shooting scenes in color and B&W as tests. Look and see if the BW with the color removed is much different fromthe stuff you shoot BW. Watch how much your editing stle changes too. The shot rates increase dramatically in color stuff. Then if you decide to plunge, or find that that filming in B&W is affecting your choices choose if you want to go that way.
The safe route is what Noah is suggesting and it is very god advice.
David
Peace and Love 🙂
-
Here is what I meant Walter.
Final Cut Pro only ever sends one frame of timecode from the timline. It is not a TRUE audio Timecode stream. You are correct, FCP sends the timecode down the firewire stream but after the FIRST FRAME, it just stops counting, the deck is doing all of the TC generation from there. This is why you can send a NDF sequence out and record a DF sequence.
Remember in the old AVID days when you would always get TC mismatch errors when doing digital cut’s? That was because the AVID was sending the actual frame by frame TC data down the RS-422. That is not the case with FCP. it only ever sends the Very first frame from the Timeline, but the timeline itself NEVER generates the TimeCode.
Programs like Premiere actually send an Audio TC signal off the timeline that can be extracted, put into a patchbay, distributed etc. FCP does nOT do this.
david
Peace and Love 🙂
-
Walt,
Just another story that shows that FCPRO is FCAmature when it comes to timecode handling.
We need a timecode stream from the timeline in FCP not just the first frame.
Sorry to hear you got caught on this one.
David
Peace and Love 🙂