Erik Lindahl
Forum Replies Created
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Considering we have to export 1000 files, yes, that takes a lot of time exporting and opening.
Automatic duck is also EXTREMELY sensitive to file naming and such, the import/export sequence does take time. A good keyer for FCP would probably give us a much more simplified workflow.
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Haha, I know! 🙂
We’re going be two people doing the work and have tre or four workstations.
– One Quad Core 2.5 G5
– One Dual 2.7 G5
– One Dual 2.5 G5Possibly also one Dual Core 2.3 G5.
I’m estimating about 6000s of chroma-keying. I’ve been looking into “dv Matte Blast” for Motion due to it’s incredibly fast keying possibilities.
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If you count in the fact that you have to export and import everything to and from AE I’d reckon FCP should be faster when doing a lot of keying of small scenes (one 2s and one 4s in a 60s show).
If I really want speed – Motion kicks After Effect by tenfold. But the quality will lack then, somewhat, and we’re still in the inport/export “hell”. The thing is we’re doing over 1000 shots to 60s shows. Motion is from my experiance much better than FCP, much faster, but more limited than AE (no lightwarping for instance).
FORMAT AND SHOOTING OPTIONS
Okej, but if we don’t plan to deliver HD? Our main goal is the internet and secondary is to have a back-up copy for TV. HDTV is non-excistant here in Sweden, everything is SD. HDCAM is quite a “bad” format interms of lower color and croma resoluition. But when sampling it down to SD Uncompressed it might be better than IMX captured uncompressed? Or will DVCPROHD be a better option than Uncompressed SD with it’s higher resolution? -
Okey, sound cool, but I don’t think it’s a viable option. We’re going to key over 1000 shots in a few days so the hassel of in/exporting, naming files etc. is something we want to skip if possible.
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Okey, I just must have hade bad sources or something. Keylight in After Effects has always given me great results. The internal keyer’s in FCP I’m NOT confident with. Motions PrimatteRT is ALOT better than FCP also, and faster, but produces worse results than Keylight in AE.
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2K stands for “2000” and is the width of a scanned film-plate. 2K is larger than 1080P HD and can also hold a full 35mm frame (these are more 4×3 than the HD’s 16×9 resolution).
Alot of effects in films use 2K as their baseformat, yes.
Shake, Flame, Flint, After Effects etc. all support 2K. It’s basically just a large file.
Often “2K” comes in a DPX format which in tern can have other “features” aside from the plate size, much like a QuickTime can be 8- or 10-bit footage, for instance.
I’m no expert in this area really, but have som base knowledge. We just yesterday scanned film for a commercial which we’ll edit in Final Cut in HD res. This will be 4:2:2 10-bit 1080i50. However, the post facility we scanned at scans at 2K, sets the colors and then bring it down to HD.
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That does look like a very cool tool. How does it work? Do you export your timeline from FCP via XML to the and it fixes all the AVC transcoding for you?
What a bout performance? Bandwidth requirments? Stability?
For instance iChat doens’t quite fitt under a “pro and stable environment”. When it works, it’s great, but all to often we have issues with it.
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I reckon Boris IS commited to the MacIntel plattform but their software isn’t done yet. The PPC version will not run on an Intel-machine unless you use a PPC application like After Effects.
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Okey! How does one prevent or “fix” these issues?
The files I’m working on now was captured on a seperate station and transfered via a fire-wire drive to this one.