[David Bogie]

> For instance, if someone is walking left to right, every couple frames he moves backwards!!!!!!!!!!!!!!!!!!
HOW COULD THAT BE BETTER!!!!!!!!!!!!!!!!?????????????????
< Please, the special typing effects, stop already. Sounds like your original footage has a mismatch cadence with your target footage rate. > am trying to frame blend a 24fps movie to 59.94.< This is not a a direct mathematical progressions so some additional fields must be created. How did you obtain your original 24fps source? bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

> For my own personal gratification and understanding… is there a major difference in quality between digitising directly from beta tape, or 1st dubbing from beta to dvcam and then digitising.< Huge difference. DV sucks and why we put up with it is anyone's guess. Keying is possible but truly awkward with DV. Just zoom in all the way on the edge of your key shot and take a look at those pixels. Apply your keyer. That's as good as it gets. Capturing from the Beat will provide tremendous quality gains BUT you must have a capture card to exploit the digiBeta color space and chroma resolution. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

In other words, see the manual. There are lots of truly cool things you can with and to AE lights.

also see theanvel.com and look for his free lights tutorials, very cool stuff.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

> There is no time nor budget to have tapes logged properly.< Then there is neither time nor budget to finish the project efficiently. Your producer is nuts. She is relying on your commitment to compensate for her bad production practices. Bail out while there's still time and you still have a life. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

The clip is nearly 7 minutes long. Which of the hundreds of “effects” are you interested in?

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

ah, red/blue is only barely capable of true 3D, it’s really more of a fake. Most r/b stuff is implied, not true 3d built with with paralax and interoccular distance because it’s built in a flat format, not a true 3d space. It’s just two copies of the same art with distortion.

You can research the old r/b comics at great length on the Web. You can also obtain a copy of COLD DRILL IN 3D, published about 30 years ago, from Boise Statue University Press.

You don’t need a production company, you just need a competent artist and lots of time.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

AVI is insufficient information. There were hundreds of codecs for the ancient architecture, only a scant few ever made it to Macintosh. Hardly any made it into the 21st century.

You will need to determine the source codec before we can help you much but the easiest answer is to ask them to provide you with a known AVI codec such as DV.

You might want to find a buddy who has a PC with the free Microsoft WMP encoder tools, might come in handy.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

> There is no time nor budget to have tapes logged properly.< Then there is neither time nor budget to finish the project efficiently. Your producer is nuts. She is relying on your commitment to compensate for her bad production practices. Bail out while there's still time and you still have a life. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Try not to take this personally.
This is an unfortunate and totally unnecessary snag in your production. We see these posts often, “Someone screwed up, how do I fix it?”
You want to avoid all this stuff going in.
If you knew you were originating on Beta and editing on DV and depending on accurate timecode, you should have tested the workflow before committing to the procedures.

As stated later, forget the DV dubs for now, they’re worthless. Get a Beta deck and capture from the originals. You will waste more time and money trying to fix this than you will spend doing it correctly the first time.

However, your Macintosh may not be up to editing the Beta using an AJA or other input card. If that’s the case, you’ve got to get your producer into the picture immediately and figure out how you’re going to save your production.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

> One thought is to just keep the project limited to animation in After Effects, using the 3D Glasses filter.,

terrible idea.

There is nothing new in 3D photography or cinema, it’s all been done, and it’s easily researched. It’s a great afternoon of surfing and downloading weird stuff. Every major 3d film in the last 20 years has user-supported or studio-generated Web sites.

You must determine your release medium first, video or film and what size of each.
Then you start looking at the options for display hardware (shuttered interfield headset, polarized glasses, stereopticon). This determines where you can get is exhibited. Then you figure out how you get it printed for release.

Then, only then, you start thinking about how your’e going to shoot it.

bogiesan