David Battistella
Forum Replies Created
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Yes there is.
You can use clipfinder. Just drag the Quicktime footage into a clipfinder window. Or use Apple quicktime to watch the Alexa footage.
David
Peace
Help me get on Mad Men
https://madmencastingcall.amctv.com/browse/detail/A518UE -
Yes.
It claims to widen the dynamic range to beyond that of film, up to about 16-18 stops. There are extreme cases where this might be nessasry, but you might not want that kind of range in most scenes.
To me, it’s mostly an effect, a special effect.
David
Peace
Help me get on Mad Men
https://madmencastingcall.amctv.com/browse/detail/A518UE -
OK.
I will bite.
I think that HDR is a fad. The look goes with the 3D fad that is happening right now.
I believe that too many people are looking at life through polarized sunglasses and want that look in their films.
In the long term I don’t see it, but I am often wrong.
David
Peace
Help me get on Mad Men
https://madmencastingcall.amctv.com/browse/detail/A518UE -
This is most likely due to the compression artifacting of teh cedec you are editing in.
For very clean titles do this test.
Make a new sequence and make the codec uncompressed.
Copy a shot with a title into the new sequence and do not change the sequence settings.
Render the sequence. You will see that it looks much better.
Also it is important to understand that FCP is showing you ONE FIELD or half of the signal quality in the viewer and canvas window. You really need to see it on a CRT or high quality monitor to see the quality difference.
David
Peace
Help me get on Mad Men
https://madmencastingcall.amctv.com/browse/detail/A518UE -
I’ve done some real world testing and will have a report here on teh cow later this week.
David
Peace
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Yes compressor gives you a wide variety of presets and you can also use the Export quicktime command to export a QT movie.
David
Peace
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Strange.
What is the background doing?
David
Peace
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This will be an interesting one to watch.
Broadcasters will tend to take the fastest path to the finsh line and creatives will want to access as much of the RAW data as time and budgets will allow.
The kay will be what the actual cost increase will be if you are shooting RAW and planning to finish in that RAW workflow. In essence it will come down to how the PRORES is viewed by production. If they see it as a replacement to using HDCAM SR or another tape format, then PROREZ will rule.
If they see it as a replacement to film (which low budget productions might shoot prores and transfer to print) then higher end production will shoot with all od the features enabled.
Recording the multiple data formats will actually put a bigger strain on the (mass storage and archiving) pipeline, as RAW and dallies will need to be backed up and archived.
So while capturing data is front end fast at the back end it still requires more labour to store, etc.
My hunch is that when people capy files from an SxS card and start editing on powerful macs with PR 4444, there may be no need for RAW, even in the rare instance of a 2K finsih.
David
Peace
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Lots of variables.
WHat is your video card?
Have you selected the correct easy setup?
Are you controlling the deck with the computer?
Component of SDI in?
Is teh audio going onto the tape?Check out this article too:
https://library.creativecow.net/articles/battistella_david/FCP_edit_to_tape.php
David
Peace
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In item properties you can select type in a new reel name.
Shift select all the clips you want to change and right click on the mouse to change it to the new reel name.
David
Peace