[D j Harris]

Hi David,

No, wasn’t able to do that – I needed to get it finished quite quickly so ended up just copying the audio tracks into the main sequence and syncing it back up. Meaning to go back and do another test sync to see where I went wrong but to be honest, can’t even find a definitive tutorial that explains how you do get all the audio through onto your target sequence. Done it more by error in the past I think!

[D j Harris]

Hi guys,

Thanks for the responses. Our fix for now is to just revert to cc2017. There may be things the cc2018 doesn’t like about our SAN but cc2017 works fine, so CC2018 is effectively a downgrade for us.

The reason we switched was that I felt Adobe is better for our workflow – we’re a small production company (shooting and post production) and most of our corporate jobs involve some level of After Effects work. The dynamic link is really useful to make quick changes (rather than the old procedure of having to create something in AE, export and import into Avid etc – then the client wants amends…

I’d have to say we also had problems with Avid, usually with the database and things going offline, crashing, or corrupted render files, and then you have to go through the whole ‘find and replace’ procedure – it was very time consuming. With Adobe cc2017 I found it to be quite reliable, stable and even if anything did go offline it was easy to fix.

To be honest, for our projects I’d still prefer Adobe but only cc2017, which worked more or less faultlessly for us, even over the SAN.

Thanks for the advice Dave, I think we’ll also remain a version behind in future!

[D j Harris]

Hi Juan,

Had this request from a client a while back and was recommended either this:
https://www.cinemartin.com/cinec/

or this:
https://www.acrovid.com/download.htm

In the end the client didn’t need pro-res, but I tested FootageStudio 4k and it seemed to produce good results from a hi-res export through Adobe Media Encoder (I think I did Cineform 10 bit, or maybe DNXHD from Adobe) then compressed that in FootageStudio 4k. I don’t know off the top of my head if it will do the audio formats you need but it’s worth a shot.

(I think there is also a way of doing it for free with FFmpeg but I didn’t test that)

Hope that’s of some help.

Dan

[D j Harris]

Hi Jon,

It’s CC 2017 – 11.1.2 (22). Being fairly new to Adobe (switched from Avid) I assumed it was best to keep it up to date but I see you run older versions.

[D j Harris]

Hi Cassius,

Yeah, fairly real in terms of the material of the flags and the knot tying. I didn’t really know that After Effects had much in the way of cloth dynamics beyond wave warp, page fold and the like – are you referring to AE or do you mean in a 3d program?

I was thinking of trying a more graphical style but I don’t think that’s what the client wants. I have some associates who would be able to do it though, so all is not lost.

[D j Harris]

Hi, thanks Dave.

I suspected as much, but thought maybe there was some way of doing it that I was unaware of. I was going to try and learn blender, but so far I have made – a static coffee mug, so I don’t think my skills will be up to this…

Cheers

[D j Harris]

Hi Blaise,

Ok, sounds good, yes I was just using one Lumetri effect (we just switched to Premiere recently so not fully up to speed with it yet).

I did have one question actually, I’ve just set the camera up to do some tests so we know what we are doing and what effect things have – I did have a question about the gain switch when in Cine EL mode – I am confused about what it is actually doing. It seems to indicate it is changing the ISO somehow (from the menu display) from 800/1600/3200 but I gather this isn’t what it’s really doing, I have read some things that seem to indicate it’s something you do in post, but I don’t understand what. I think we usually shoot with it it the low position. Any recommendations here?

[D j Harris]

Hi Blaise, thanks – yes, I’d seen the NR option in the menu and was about to do some tests with it – I think we left it off by default as often these in-camera image processing things aren’t great, but if this one works then fantastic! I don’t know which LUTs they are using in camera, but I’ll check it out. Thanks for the help.

[D j Harris]

Hi Blaise,

Thanks for replying – I believe that it’s shooting S-log3/1080p/XAVC-i/2000 ISO/Cine EL. The viewfinder is set to a LUT/Look Profile (2.LC-709typeA). I’ve just spoken to one of the cam ops and he says he usually sets zebras to 90%. We sometimes shoot in just 709 depending on the client, in which case zebras are at about 72%. They also use the Hypergamma setting, switching between HG3 and HG4 for indoors/outdoors. They also use a shutter angle of 180 degrees. Interesting to learn that ISO isn’t standardized, I didn’t know that!

We are a small company and it’s mainly used on small & fast corporate shoots so is exposed just by using the viewfinder. I did some research prior to this and ask on the last shoot if it could be slightly overexposed as you suggest, which did seem to help matters – there’s probably more we can do though. The cam ops are asking if there is way of saving profiles onto an SD card so they can load up settings quickly on a shoot – I will look into this but you might know if this is practical to do!

Thanks again

[D j Harris]

Well, I contacted editors keys, but they aren’t making a CC set for the foreseeable future. Was thinking of trying a mac set but I think they’ll be too big for a standard PC keyboard and cutting them down will look pretty awful.

Anyone managed to obtain a good set anywhere?