Replies – Forums – Dean Fisher

Forum Replies Created

Dean Fisher
May 5, 2016 at 5:32 pm in reply to: Alpha Channel

You’ve probably figured this out by now, but the answer is here: https://forums.creativecow.net/thread/3/971240

You need to uncheck “Composite in Linear Color” in Sequence Settings. It’s checked by default for some reason.

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Dean Fisher
Dean Fisher
March 14, 2016 at 5:37 pm in reply to: Quality loss while playback is stopped

Somehow glossed over that… thank you!

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Dean Fisher
Dean Fisher
April 30, 2015 at 6:12 pm in reply to: Mixing GoPro Hero 3 Black Protune 2.7k cine 24fps with 5D MkIII 1080p 24fps

There’s a group called Magic Lantern that has released firmware that adds secondary features to Canon DSLR’s, one of them being shooting RAW sensor video (convertible to DNG images). Allows you to squeeze tons more detail in the image and is much more versatile in color correction. All this at the sacrifice of huge files, but there it is. So the GoPro wouldn’t be raw in this case.

Thanks for the info, much appreciated. I’ll be transcoding before editing for sure.

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Dean Fisher
Dean Fisher
April 30, 2015 at 5:37 pm in reply to: Mixing GoPro Hero 3 Black Protune 2.7k cine 24fps with 5D MkIII 1080p 24fps

We’ve got the full Adobe suite. I have a decent knowledge of Premiere, we just haven’t made the jump at the office. We realize we needed to leave FCP7 at a certain point, perhaps this is the time!

I know premiere handles mixed format / frame rate fairly well (at least leagues better than FCP7). As far as the GoPro footage, is it prudent to transcode from raw before editing, or just throw it in the timeline along with the H.264 5D footage? Also, I forget where I read a long time ago that even though premiere can handle H.264 editing, it’s perhaps better to not edit with that codec anyway. Is there any truth to that?

LASTLY (I know this is branching out, I could post in other forums maybe), I’m experimenting with 5D Raw footage. I am understanding of that workflow in and of itself, but haven’t mixed with other cameras/formats.

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Dean Fisher
Dean Fisher
April 23, 2014 at 1:36 pm in reply to: Apple ProRes 422 (proxy) to regular 422 for Export

Shane, I am not a fan of holding pickles. Especially the dills that come with a club sandwich.

I do realize that you can’t get proper 422 out of 422 (proxy), I was meaning that the edited sequence could be used as a reference for the original media to be re-compressed to full 422 ONLY at the edited in/out points.

I see in your tutorial that this is entirely possible, so thank you for the workflow, although I’m working with DSLR footage (and it doesn’t seem like you can do a log and transfer with that raw material?), so for future projects I was wondering if it was possible to do something similar. In your DSLR example, you still have the full 422 footage existing on the hard drive, which is what I’m trying to avoid.

I’m thinking what I’ll probably do is just delete the ProRes footage entirely when I archive a project. If I need to go back to it for some reason (never to rarely), I’ll just run the footage through compressor again (with proper clip naming) and reconnect.

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Dean Fisher