Forum Replies Created

Page 69 of 169
  • David Battistella

    February 22, 2007 at 4:31 pm in reply to: this seems curious

    Is your range check on?

    d

    Peace and Love 🙂

  • David Battistella

    February 20, 2007 at 10:37 pm in reply to: Audio Latency Issue

    Try this,

    capture it in ten minute increments and then stich it together in the timeline. I still never capture more than ten miutes of media to a single clip, EVER! A sixty minute tape is logged and goes in ten minutes at a time.

    David

    Peace and Love 🙂

  • David Battistella

    February 20, 2007 at 9:50 pm in reply to: Audio Latency Issue

    Try this,

    capture it in ten minute increments and then stich it together in the timeline. I still never capture more than ten miutes of media to a single clip, EVER! A sixty minute tape is logged and goes in ten minutes at a time.

    David

    Peace and Love 🙂

  • David Battistella

    February 20, 2007 at 4:28 pm in reply to: Making a head explode (special effects)

    I can’t answer this post. It might make my head explode!

    🙂

    David

    Peace and Love 🙂

  • David Battistella

    February 20, 2007 at 4:27 pm in reply to: Is the Dell 2407 or 2707 up to….

    Bob,

    Nothin’ like a good old CRT.

    d

    Peace and Love 🙂

  • David Battistella

    February 19, 2007 at 2:44 pm in reply to: Framerate issues – HD workflow

    G-Film is an excellent choice as it will convert the framerates for you. I have used this when matching 29.97 material to 24PA material.

    David

    Peace and Love 🙂

  • David Battistella

    February 19, 2007 at 2:08 pm in reply to: Is the Dell 2407 or 2707 up to….

    Just on the Component vs. SDI issue. I have seen an upclose comparison from a K2 Component vs. SDI through the original Full 1080×1920 Sharp Aquos. A Miranda box was doing the conversion and pulldown to (the sharp doesn’t recognize the 23.98 framerate). There was a huge difference in contrast and sharpness when viewing SDI vs. this DVI converter. It’s a much cleaner signal with more contrast.

    two cents.

    David

    Peace and Love 🙂

  • David Battistella

    February 18, 2007 at 5:05 pm in reply to: choosing capture presets and editing timebases

    There are a few things to remeber.

    The camera always records at 29.97, no matter what you do the actaul signal going to tape or a card is at 29.97.

    If you shoot 24P (actaully 23.98) you are in effect telling the camera to lay down flagged frames. THese flagged frames can then be removed when you are digitizing.

    So, if you want the 24P look for tv or video delivery just shoot 24P and edit everything at 29.97, the pulldown and look has been taken care of for you.

    If you are finishing to film (and really that is the only reason) then remove the flagged frames by capturing the footage with advanced pulldown removal. In this case, the flagged frames are removed by the software on capture. You then end up having clips in with the 23.98 frame rate and your sequence is such. The only reason to cut at 24P is if you are doing a film finsih.

    Much has been stated and debated about this stuff and it has really only served up a bunch of confusiion.

    This is what I do. I shoot at 24PA all the time. If I have to finish to tape, I do not remove the frames. If I know I am going to finish to film, then I do remove the frames. If I have been asked to shoot a true video look, then I shoot in the 60i mode.

    David

    Peace and Love 🙂

  • David Battistella

    February 18, 2007 at 3:07 pm in reply to: Framerate issues – HD workflow

    If all of the footage you are editing with is 60i then you should make sure the stuff you need to recapture mathces that. WHy don’t you call postworks. explain your problem and ask them if they will do you the favour of recapturing the footage or at least explaining their method to you.

    The production seems a bit disorganized if you have no idea how the program is supposed to be finished. THat should be the first question you ask so that the post production can be planned accordingly.

    David

    Peace and Love 🙂

  • David Battistella

    February 16, 2007 at 10:53 pm in reply to: Framerate issues – HD workflow

    Jelena,

    Cross converting interlaced and progressive footage is no easy task. This all depends on your finish? Is it a 23.98 finish or a 29.97 (59.94) interlaced finish?

    Either way, it is very time consuming and difficult to get really great results converting interlaced to progressive. Doing anything with the converted material (slomo, etc) can also be problematic.

    One tool to do this with is COmpressor. It uses Shakes “optical Flow” technology and produces some very nice looking results. You can set up a preset, do some tests and run the 60i shots to convert them to 23.98. At full HD rez it will be time consuming (especially at the HQ setting). You could do a fast conversion to cut with and then pull your final shots and reconvert them, that can get cumbersome. My advice would be to do it all at the front end and save yourself the time and aggrivation later.

    Shake will do this on a shot for shot basis. THe other option is to go to a house and have it done through Hardware conversion and have a new set of 23.98P tapes made.

    Sorry. No real Quick and easy fix on this one.

    David

    Peace and Love 🙂

Page 69 of 169

We use anonymous cookies to give you the best experience we can.
Our Privacy policy | GDPR Policy