Eric Johnson
Forum Replies Created
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It sounds to me like you have loop turned on. you can turn it off under view> loop playback.
Otherwise i have not heard of/ or encountered that issue in FCP 6.0.5
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if you get the Noise Industries FxFactory for FCP all of the filters have a built in mask that you can use, they even have some blurs. It’s a pretty good package overall and can be expanded incrementally since multiple vendors create filter bundles for the suite.
They also all work in Motion and After Effects, under the same install.
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Are you noticing the image loss on a broadcast monitor? Or, on your computer monitor? I’ve noticed that Pro Res looks pretty horrible at times on my Computer monitors (noisy as hell) but looks perfect and amazing on my broadcast monitor.
Just wanted to check because I had noticed similar issues with Pro Res until I saw it on an HD monitor.
Hope that helps, sorry if it’s moot.
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Do you have a Kona card, Preferably a Kona 3?
Is it going to Tape or DVD? Are you planning on playing out to tape? Where is this going?
If it’s going to tape. through a Kona to the deck (DVW-500 or 2000?) then this is a really easy process.
Set you system up to play out 1080 24, then set the video playback to 1080 29.97. In the Kona Control Panel, under format, set your secondary SDi out to 525 29.97.
Then all you have to do is play out and it will happen in real time, with the Kona doing the Pull down.
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have you tried the scale function in the motion tab in the viewer?
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So the “24F”, the draw of the camera, does not jive with other gear?
That being the case is there a 24 HDV camera that will work using the Sony hardware?
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Are you judging the change in saturation by eye? It sounds like what’s happening is that you’re finally seeing what it looks like on a non-computer monitor. Which would make things look totally different, but only when viewed from the one source. So your effective saturation isn’t really changing, what’s changing is what you’re using to look at the footage.
Can you get some scopes to play out through to check the play-out on your I/O and on your deck? I would bet that they’re the same.
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Much clearer.
The only way to do this without rendering, or some other processor intensive equivalent is to recapture your 24p tapes at 24p.
Especially if you are not terribly deep into the process. because if you start doing it right now, and continue doing as such your finish will be way easier. What you’re doing now will just create problems that will keep coming up the further in you get.
The potential for issues when you go to Color Correction, Sound, Scoring, etc. could cost you far more in dollars than the time spent to solve the issue now.
And since this problem is primarily concerning the Production sound of your piece you really need to bite the bullet and get your footage into the machine the right way.
Hope that helps.
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Thank you sir.
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Are you saying that you are shooting both 24 and 60?
Or are you saying that you’re shooting 60 as 24 and conforming the picture to what you actually shot?
Please clarify.