Dylan Reeve
Forum Replies Created
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Here’s a set of frame size guides I created a while ago. They are based on BBC/EBU size (they includes 16:9, 14:9 and 4:3 safe zones within the 16:9 frame). There are 1080, 720 and 576 line versions.
https://dylanreeve.com/resources/framesizes.zip
They are layered PSD files so you can turn off layers you don’t need.
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The Pimp My Ride one to me looks exactly like the Fluid Morph transition from Avid and it annoys me everytime I see it that the image freezes morphs then unfreezes (this is the Avid default, but a single check box enables the morph to work with the moving image, which looks much better).
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Great. I’ll be singing that all night now. At least it’s displaced the songs from the music doco I was working on earlier today.
The honeycomb thing is a physical glass lens. I believe you can get them (I know they exist for still photography).
The video feedback thing is a bit tricky I reckon. First of all, I think the video was shot on film and the feedback effect has been added as a optical later (it actually superimposes slightly over Freddie’s face at the beginning, not behind it).
So I think they did this – shot the singing heads clean against black. Then had the shots transferred to video to shoot the element for the feedback. Then a video camera (connected through a switcher to a monitor) was positioned next to a film camera, both pointed at a large TV monitor.
To start the feedback, the video of Freddie is switched to the monitor, along with the signal from the camera. The trick would be in how they were mixed to the monitor – a linear luma key of the filmed element in the foreground with the camera feed in the background would be my bet.
Anyway, the video feedback loop is filmed with the film camera and then recombined on top of the original singing closeup to form the finished shot.
That sort of look it nearly impossible to create artificially, the way to get it is to actually film a screen.
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That’s actually not a bad workflow at all. Assuming you don’t have immediate time pressure, that should be fine.
If you have time it might even be worth batch capturing your transferred sequence from the DV clones into FCP first just to make sure the EDL has come through as you expect and there aren’t any weird timecode errors or other gotchas that will be a lot harder to fix when it’s all in Geneva.
Also, given you have only one shot at the capture it might be worth subclipping out any extra bits and pieces you think you might need. It’ll only be a matter of a little more capture time, and a few more GB of files, but could be totally worth it if you realise you want to add a cutaway or something later.
My experience with Avid to FCP also leads me to believe the optimal method of moving the sequence is to setup and ‘decompose’ it in Avid, then export an AAF of the decomposed sequence and import to FCP with Automatic Duck. This is because Avid seems to have a much better method of breaking down clips for recapture than FCP does. If you want to go that route, I’m sure there are a bunch of us here who’d be happy to take an AAF and send you back an FCP project file from it.
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Get access to an FCP suite for as long as is necessary to digitise your footage into FCP natively. Anything else is just going to be a huge pain.
Or better still find a way to get the time you need in an Avid suite. Avid sequences transfer seamlessly from one version to another, so the upres is very easy. While Automatic Duck does a good job of moving Avid sequences to FCP there are a bunch of things that won’t come through (depending on how much you’re doing in the offline in terms of effects and things like speed changes this may be a big or little issue).
While I’m sure there are ways to get Avid media into FCP, and some might work out okay, but chances are it’s going to come back to bite you big time at some incredibly inopportune time.
You can offline on Avid and online on FCP without too much difficulty, but sharing media (especially any great amount) is going to be impossible.
Also, the way FCP handles media means it’s going to be more or less impossible to relink you edited sequence to the media files you’ve got from Avid. FCP just doesn’t work that way.
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I haven’t tested this at all. There are some links on the Automatic Duck page about reading Avid Media in FCP, so perhaps they’d be useful? I haven’t really looked at them myself.
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I believe Avid Media Composer has the ability to do this, but I’m not sure how that would help you. You could probably get the timecode tracks setup in Avid and then export the bins to FCP with Sebesky or something.
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A bit late to the party on this – but we recently shot a series with two Varicams running identical scene file and setup, and regardless one was significantly greener than the other. As the overall tonal range is the same however, it is a very simple colour correction.
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It will be a matter of the Levels settings (RGB/601) at export and/or import. I believe, however that some QT implementations don’t do whatever it is that is necessary for the actual setting in the QT codec options to be implemented (so that whatever settings you choose the exporting application does something else). I don’t know a lot about it, but I have exported without especially poor results.
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We’ve got a Samsung on our MacPro – it’s nice, but it’s a bit contrasty and red, and I can’t quite seem to get it just right. Certainly no good for judging grades or whatever, but we have a broadcast monitor for that.
I’m pretty sure it can be good, but the issue is calibrating it just right, and without the aid of a calibration probe I think it will be a challenge (I’ve certainly been unable).
That said, it’s better than the AOC 22 was on the same computer.