Eugene Lehnert
Forum Replies Created
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Yes, I am interested to see what I should set my After Effects project to. I haven’t been using any color management.
Also when is P3 used on SR?
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If you do shoot 23.98 for broadcast can you use this method of converting the timecode?
Take the 24 frame timecode, multiply the frames by 1.25, round off the fraction to the nearest frame. Now you essentially have NON-DROP frame timecode which you can then convert that to DROP-FRAME timecode with a timecode calculator?
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Well the client really wants to edit on their Adobe Premiere system. We have advised buying FCP to make their lives easier but alas they do not want to.
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Adobe Premiere on a PC.
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The database the client gave me is in 30fps. The .mov files I created with the AJA application are 23.98 now. Can I convert the database to 23.98 and reconnect the clips and send that to Final Cut Pro?
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They have a Cinema Tools database that I am looking at now. I’ve never used this before.
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I have a GspeedXL. What about the AJA DPX to QT translator? How can I connect all the files to the clients EDL after I convert it to 24fps?
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I’ll give it a try again. I thought I did that to no avail but I will double check. I remember the footage coming out darker. The full range looks fine on the 4:2:2 output from Final Cut Pro.
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When I bring in the Quicktime files into After Effects they do not have a profile. I found that using the sRGB IEC1966-2.1 profile did not change the color of my video but that seems to only happen when the Kona card is outputting 4:2:2 video. I thought I should be using the Rec. 709 colorspace but that seems to cause a shift in my colors.
I am outputting full range and I have my title crawl at 90%.
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At the top of the interface, Shake identifies the bit depth that it is working in. According to shake the 10-bit material is really 8.