Ernesto Crvalo
Forum Replies Created
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Hey Jeremy, I’m so glad you take interest. I’ll post some footage tomorrow or Friday, maybe you help me (or us) decide what the best approach with this type of material is. The curious thing is, that even though it’s a funky setup (“15 double frames”), I am still not sure I would have come out happier with interlaced material in the current attempt to make it into 24fps. The stuff was shot with a homemade 35mm adapter back in the day, and looks a lot sharper than the footage of one of the scenes we accidentally left the camera on interlaced mode. Maybe there’s some extra lines in the progressive stuff… I don’t know, you’ll see.
Are you telling me Shake is actually a person and has feelings??? That changes everything! I’ll have to rethink all my past accomplishements and frustrations with it under this new light…
Best, Ernesto.
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Yeah, that’s the thing, you get 15 progressive double frames, I’m still wondering what the best way to deal with this material would be, as I have plenty shot in this mode from a couple of years back. I’ve trying to get them into a usable format, such as 24fps, and I’ve been using Shake to achieve this. My main dilemma as of now is if I should export sequences in FCP at double speed without frameblending (in a way that I suppose every-other frame is being thrown away) and than get this 200% speed material into Shake for conversion OR if I should convert the original material material straight into 24. The first idea sounds a little better because I know that the frames are repeated, but shake may not realize this (as if it were a person…).
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EDLs are terrible. You do have another much better option for getting to avid from FCP which is Automatic Duck’s Pro Export FCP 4.0. But it’s not as free as EDL.
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Concerning the lingering problem with Show through edits even after you select it from the Timeline Layout Popup, I don’t know what it could be (maybe a bug). The only far fetched thing I could say is maybe trash your Thumbnail cache, fcp is buggy in that realm of timeline display details. But concerning the V key, have you checked in Tools-Keyboard Layout if V is still asigned with that function? (maybe it was disabled through fiddling). Are shift+e (go to next edit) and option+e (go to previous edit) still working? I’d really check in Keyboard Layout.
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Wow, thanks so much! I thought I knew FCP inside and out, but I guess not! When capturing, should I make a capture preset for this (is there one?), or is it indifferent, and I can just Log/Capture with standard DV NTSC and then change the Field Dominance in the Format and then in the Sequence? Would you reckon there is a way to work with normal interlaced clips in a same sequence alongside these odd types, or would I have to convert one or the other? Thanks.
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Ok, this is probably going to get me in trouble, but I need to say it. I was at a conference the week before last and I met an old friend who is now a top CAE at Apple. He told me something completely unexpected: FCS3 will be skipped altogether. Apple will jump straight to “FCS4”. This will coincide with the conclusion of the well under way process of Apple’s acquisition of Adobe (creating the “Applobe” branch). The new version of the Studio will be the first to celebrate this merger and it will be called Final Creative Studio 4, or “F.CS4”. It will contain an updated version of the current “Creative Suite 4” applications such as Photoshop, Soundbooth and After Effects (which will probably be renamed Motion Effects, eliminating Motion from the package, but he didn’t have this detail). Premiere Pro will be once and for all discontinued. Across the board integrated translation protocols based on a revised fusion of XML, AAF and advanced scripting will allow for any project to be opened by any application, including through simple “send to” features, but retaining “export to” abilities. When I was about to mutter “that is madness!” he continued saying ” – And that’s not all.” Apple is also buying the Foundry, and through this Shake will be revived as an eyeon Fusion with Nuke, and they will be called “Shuke”. As I shook my head he continued: “I’m particularly excited about something else, though”. Inside the “Final Creative Studio” there will be “Final Cut Pro” and “Cut Pro Tools”, as Apple acquires the Digidesign branch off of Avid Technology. This will mean that from within a timeline in Final Cut you will be able to click on an icon (or press CMD+SHIFT+P) and open that timeline in the new Pro Tools. There will be no more need for “Export to OMF” or “Digitranslators”. The same functionality will bring the project back to FC. Soundtrack Pro will be thrown into the garbage. I interrupted him shouting “But that’s monopoly!”. He insisted I was not seeing the bigger picture. He said Apple is going to make the Final Creative Studio available for KDE and GNOME linux distros, including Ubuntu, and that in this case the whole package will be free and open sourced. He concluded saying that Bill Gates was also behind all this and that in a trip to Nepal together with Steve Jobs they had seen a light that said: “Help humanity create art free of the capitalist constraints”. So they are both throwing their entire fortunes in financing this enterprise, including R&D departments to keep it all up to speed over the next 75 years. Windows will be aborted. Jim Jannard was also passing through Nepal when Jobs and Gates were there (he was getting married, apparently), and in his case the light inspired him to make the Red camera now have its price reduced to simply cover production costs and to announce to the world the exact date and time of Scarlet and Epic releases. At this point in the conversation my friend had to go and I was left there flummoxed, and with a strange tic in my pinkie finger of the left hand and foot.
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Hey, I wonder, what did you decide in the end? I am curious as to which of the techniques worked closest to something acceptable (or which was the least worse). I had a really silly idea looking at the stills (probably a in stop-motion/rotoscoping mindset). Given that the grain is constant, completely static, you could manually create a mask in photoshop for the subtle light variations and try to compensate them as such. Because it doesn’t move, it would be a pain, but you would only have to do it once and maybe do slight moving corrections in after affects, but the relative position of the grain would never move. Also, even for a static GG, that image looks pretty grainy. I’ve shot static GG on SD in the past (for experimentations) and it didn’t look as grainy. But maybe it’s just the HD working as a stronger delator. Another option in this highly artisan approach would be to film a static white surface with the same GG as a guide to the photoshoping madness.
But I would be curious as to the what yielded better results anyway.
Peace.
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Hi Anne,
I have been looking for an answer to this question for years, and today I finally received some good news. The bad and easy option is in fact exporting EDL in PPRO and importing it in FCP. I tried it and don’t consider it a proper solution, but it maybe, depending on the complexity of your project. EDL does not preserve master clips, but rather creates new clips from every item in the sequences. I also found reel-naming issues with it, as well as time code problems, and it does not migrate any effects or transitions.
I have also heard rumos, ever so often, that Premiere would incorporate export-to-xml capabilities in a future version. Maybe it will happen, maybe in the day Adobe establishes itself in the market in a way that it is not worried about users starting projects in PPRO and moving on into Final Cut. I wouldn’t wait for it, though.
Finally, the only proper solution seems to be a non-advertised feature of Automatic Duck’s “Pro Import FCP 2.0” plug-in for Final Cut Pro. I don’t have it, but I sent a test Premiere Pro 2.0 project file to the person at Automatic Duck, Wes Plate, and he promptly resent a sample back converted, and it is perfect. Master clips and sequences. The serious limitation with Automatic Duck used for this is that it doesn’t seem to work with versions later than Premiere Pro 2.0 (CS3 or CS4). For me it would be great, as the files I need to convert are PPRO2.0, from before switching to Fial Cut Pro, but the plug-in also costs $500, which is a big problem. Right now I am actually thinking about finding someone who may have the plugin and maybe pay them to do this 5min task (so, if someone has this plugin out there and would like to help me on this, please contact me!).
I hope this helps,
Ernesto.
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Hey, if someone is still trying to solve this problem, I struggled with it for some months, and after reading some forums, I did two things that solved it, so I don’t which one was the responsible.
1) I went in Compressor to the Menu Compressor –> Reset Background Processing (even though I had already cleared out any other running processes in the Batch Monitor.
2) I set the Priority to “medium” instead of “High” in the dialog box that pops up after you submit…I hope this helps someone.
Cheers.