[Declan Smith]

I had exactly the same issues and I think I have found out how to workaround the issue.

Hopefully this will help

https://www.youtube.com/watch?v=9dSdbnHm-84

Declan Smith
https://www.madpanic.tv
FCS3 / After Effects CS5 / Combustion / Canon 7D / Canon XL2

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[Declan Smith]

This may be of some help to you:

https://forums.creativecow.net/readpost/280/1000

Declan Smith
https://www.madpanic.tv
FCS3 / After Effects CS5 / Combustion / Canon 7D / Canon XL2

[Declan Smith]

Dave

As a rule I always transcode to one of the ProRes codecs, but for what ever reason, these 4 clips were rendered incorrectly, however if you read my original post, the issue is not with the H.264 part of the workflow, it’s final cut not being able to render a prores clip (the one roundtripped back from color)!

This is the error message I get when trying to render in Final Cut.

The clip details are below, which clearly show this as a ProRes clip. Annoyingly enough, final cut handled the H.264 element of the workflow just fine, so your H.264 question count has just gone down to 799.

I know to fix this I need to go back and redo the image sequence and ripple the change through. The question was raised because Final Cut was bitching about its own ProRes Codec.

Regards

Declan Smith
https://www.madpanic.tv
FCS3 / After Effects CS5 / Combustion / Canon 7D / Canon XL2

[Declan Smith]

I have bought two color tutorial DVDs, Walters is the best one in my opinion. It will get you up and running very quickly,

Declan Smith
https://www.madpanic.tv
FCS3 / After Effects CS5 / Combustion / Canon 7D / Canon XL2

[Declan Smith]

I’ve often wondered the same. Sure an external calibrated monitor is the correct / most reliable way to color correct / judge your work, but surely the brightness shouldn’t change between still and motion?

[Declan Smith]

Alot of people speak highly of the Zacuto viewfinder, but to be honest, I have had mixed results. It does help with stablization by making another contact point but mostly I find the naked LCD much easier and sharper to focus, but I suggest you see if you can try one out first.

There is talk of an EVF coming out for DSLRs which looks very interesting: https://urbanfoxtv.blogspot.com/2010/12/worlds-first-hd-dslr-evf-ships.html

Declan Smith
https://www.madpanic.tv
FCS3 / After Effects CS5 / Combustion / Canon 7D / Canon XL2

[Declan Smith]

There could bf numerous reasons why you are bit getting a good key, but you shouldn’t expect any keyer to be a one click solution. Keying can be an art in itself. There is a great article here on the cow which firms the basis for all keying I do. Although the article explains how to do thus in after effects, the principle applies across the board.
https://library.creativecow.net/articles/onneweer_barend/keyingtut.php

I find that I end up using many different keyers depending on the footage. Different settings are needed to keep nice detail and for the core matte and for dealing with troublesome areas.

Declan Smith
https://www.madpanic.tv
FCS3 / After Effects CS5 / Combustion / Canon 7D / Canon XL2

[Declan Smith]

I just had a quick try with EDLs which might work for you.

1. Go to your edited sequence (with clips from color) and export an EDL, but make sure that you select export clip names as opposed to filenames: as per picture

2. Now import that EDL and it should create a new sequence with all the media offline. Select all you media and reconnect it to your original clips.

Declan Smith
https://www.madpanic.tv
FCS3 / After Effects CS5 / Combustion / Canon 7D / Canon XL2

[Declan Smith]

Mark, you were right. Looks like I made a reference movie of the HD footage, as that was the destination codec I guess the 2.5Gb was the gaps that it had to actually render, and it referenced the rest! As for the DV, even though reference was selected, of course it would have had to render all the frames anyway.

Thanks

Declan Smith
https://www.madpanic.tv
FCS3 / After Effects CS5 / Combustion / Canon 7D / Canon XL2

[Declan Smith]

Hi Jamie

From what you have described, this is a masking issue. I would duplicate your main clip and put that on top of everything, then mask just the hand and the remote as they interfere with the screen. Of course, you will need to keyframe the mask to match the movement. I am also assuming that your shot is locked off.

Declan Smith
https://www.madpanic.tv
FCS3 / After Effects CS5 / Combustion / Canon 7D / Canon XL2