David Battistella
Forum Replies Created
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Why not do your storyboard cuts in DVCPRO HD. It’s a much smaller file size. It is in an HD frame size. It looks great and the Kona has specific acceleration for this codec. When you are done recpature the video portions in 8 or 10 bit and re render the gfx at that time.
THis is a much speedier workflow.
David
Peace and Love 🙂
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There is no quick and dirty on this one. This is the way to go.
https://www.kenstone.net/fcp_homepage/basic_pleasantville_look.html
If the original clip is black and white then you ahve no choice but to rotoscope (draw the color on to each frame) the effect.
David
Peace and Love 🙂
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Found this great word document on it here:
https://www.google.com/search?client=safari&rls=en&q=HD+color+bar+setup&ie=UTF-8&oe=UTF-8
David
Peace and Love 🙂
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When you move to the HD color space then you must take into account that you are cutting in Zero Black land. Therefore you do need to set the monitor up with HD 720P bars from final cut. Bob is right, there is a gamma shift between SD and HD. Maybe you can save a couple of user set-ups on the monitor and flip between them.
David
Peace and Love 🙂
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This might have a lot to do with the way the 24P material was shot. If the camera was not set up properly (especially with out of the box settings that were not tweaked THICK THIN menu particularly, then you will see these kinds of problems.
If the Material was shot 24P and not 24PAdvacned then it should be cut in a 29.97 timeline and captured with the regular DV NTSC easy setup.
If it was shot 24PA and you are doing a filmout then it has to be captured with advance pulldown removal and edited in 23.98 timelines.
It sounds like the interlacing might be a sequence/captuer settings mismatch or poor initial camera setup.
David
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Basically the cards act as a pipeline. THe render times/realtime/etc is based on the RT engine build into FCP. This means that as processors get faster then so does teh software, etc.
The single biggest factor in determining how much RT you will get is DRIVE SPEED. The faster FCP can access your media (and the faster and more streams your hard drive stream can handle) the more RT you get.
I beleive that the AJA KONA series boards have hardware support for HDV and some of the DVCPRO codecs, that moves some of the processing onto the cards. I do not believe that any of the DECKLINK products offer these features.
Read the Feature sets carefully as machine speed, hard drive speed and physical RAM are all bigger factors thatn the capture device.
That is about as straight as it gets.
David
Peace and Love 🙂
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Richard.
Here is a simple workaround for render times. Use the razor blade to make splices around the dissolves.
Are you seeing these “pops” on the Apple display or the external display?
David
Peace and Love 🙂
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Michael,
Are you editing in a 23.98 or 29.97 timeline?
David
One step at a time with the answers. This is a bit dense.
AS I understand it.
1.. You are doing a filmout.
2. Some of your footage is 29.97.
3. You want to convert that 29.97 footage to 23.98?The best tool to do this with is on your machine. It’s called compressor. It uses Shakes optical flow technology. You can build a preset in compressor to do this conversion and it looks great.
David
Peace and Love 🙂
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Nick,
This is indeed an advanced way of doing the 16×9. I was trying to explain the concepts in a simpler way.
David
Peace and Love 🙂
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Ananmorphic footage needs to be edited into an anamorphic timeline. If you change the settings after the fact you end up with this sort of result.
The correct thing to do it set all of the footage to anamorphic and then edit in an anamorphic timeline.
If you have already edited then you need to create a new sqequence that matches your footage seetings and then copy paste the old sequence into the new one.
d
Peace and Love 🙂