David Smith
Forum Replies Created
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Sounds like you’re putting the clips into a 4:3 sequence. Choose an anamorphic easy set up and then open a new sequence. Also make sure the clips have the anamorphic check box checked.
Regards,
David -
The multiclip feature will do what you’re after, but I’d suggest you study the manual and use the feature as it was designed to work instead of trying to fit it into the way you think it should work. It’s not designed to sync with individual clips you’ve already added to the timeline. You create your multiclip and put IT into the timeline. Read up on it. I didn’t find it very intuitive, but it will work once you wrap your head around their process.
Regards,
David -
I’ve been using CatDV Pro with good results. It’s inexpensive and you can build preview movies with it when needed. I really like that feature as I’ve been able to store a huge doc project on my powerbook and log clips during commutes on the train, or during downtime on shoots. Here’s a link:
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Perhaps you could explain exactly how you’re getting the house timecode feed into the deck and out to FCP…. that’s not the same as sync. Make sure the deck menu is set to use external timecode. It would seem to be using internal timecode. I don’t get how you’re seeing the house timecode in the FCP capture window but then not having FCP record that data, but then again I’m confused by your post. What exactly is going on and how exactly are you routing timecode signals?
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[Wayne Carey] ” when relating to broadcast digital formats such as IMX, P2, D2 and so on, they have a setup of 7.5 IRE.”
That’s not my understanding. There’s a good discussion of this issue on Ken Stone’s site written by Graeme Nattress, here:
https://www.kenstone.net/fcp_homepage/video_levels_nattress.htmlRegards,
David -
[Barbara Johnson] “Talk about embarassing.”
Oh please Barbara! Last week I had no video coming through my AJA card and had to call tech support, where the nice gentleman, without a trace of “what a dope!” in his voice, calmly asked me to check the FCP View>External Video menu. Sure enough it had reset to “Off”.
Doh!!!
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Barbara,
Can you be a little more specific? No video on an output monitor? No video in the canvas window…. the viewer window? If you generate some color bars and put them in a sequence, can you see them play in the canvas? -
I went with the Firmtek boxes. I have both a four bay for my G5, and a two bay that can travel for use with my Powerbook. I’m very happy with their quality, their quiet fans, and their small form factor. Like David, I also was impressed with the backplate design that eliminates internal cabling. As an added benefit, I think they look better too!
David
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[Mark Pope] “The lattitude of levels info you had sounded sensible, but I only understood 63.79% of what you said.”
Projected film (either motion picture or still transparencies) has a much higher range of brightness levels that can hold detail in both the shadows and highlights. Video displays, or pictures printed on paper, have a much lower range. Many times this is described as “contrast ratio”, however that term gets used for other meanings as well so the term can be confusing. (for example, display manufacturers use the term to describe the difference in brightness levels between pure white and pure black, but that doesn’t tell you where detail in the shadows or highlights will be lost).
I’ve often seen these figures used: a film transparency can hold detail at contrast ratios of 1000:1, a printed photograph or video display… about 100:1. So image makers have to pay attention at both the acquisition and display stages. That is what Ansel Adam’s famous “zone system” is all about. (if you’ve never had the chance to see his actual prints, make a point to go to an exhibit of them. Books can show you his artistic eye, but they don’t do his printmaking craftsmanship justice.)
Working with video acquisition makes things tough in this regard, because the initial image capture has a pretty low contrast ratio. As Bret pointed out, a well lit scene keeps the lighting ratio low enough for video to handle, but that’s not possible in many real world situations. I’ve worked with DP’s who underexpose video in high contrast light situations, with the idea that video handles shadow details better than highlights, and the picture can be corrected in post and keep more detail throughout the range. That would be analogous to the Zone System’s use of exposure and developing strengths/times to keep detail in the image.
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Wasn’t support for that camera just added (or about to be added) in 5.1.2?