[Fermin Branger]

I’ve exported color bars from FinalCut and made my own program to use it from my M100.
In the 24fps case Iv’e pulled down Image+audio with DVFILM MAKER.

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.

[Fermin Branger]

It would be great, I use to do my color corrections in AE with colorista. Now I’ve just downloaded the new Colorista II and its so powerfull and easy to use, that It’ll be great to have it within M100 Studio, and finish our projects completely from the begining into the same program.

However, It will be so usefull to have the possibility to enhance our audio capabilities with new features and plug-ins from so many aplications.

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.

[Fermin Branger]

Thanks Floh,
..when importing from M100 (checking import media to the media standard and codec). Before that, I made a test converting trough Quicktime with great results, but without time code, and I need it to replace media for online version before export to DPX.
Thanks

fermin

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.

[Fermin Branger]

Very great news Marshall!!!
Recently we started to edit a new long feature film in FC because it supports the AVC-Intra codec of our Varicam 3700 film camera. We could start again in M100 to test during editing and give you week to week feedback from a high end project that will be edited, ref mixed, color corrected (Color), exported to DPX for film-out, and video masterized in HD.
When can we get the beta vers to start editing?

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.

[Fermin Branger]

Hi Floh, thanks for your answer.

I’ve read about Calibrated MXF import, and about Raylight MXFX 2 from DVFILM, that is a Panasonic Partner (and I’ve been waiting so much for their MAC version), but I have the dream that I could import my AVC-I files directly to my M100 natively (if we can call Native the way that FC transcode it).

I have a Panasonic Varicam 3700 camera that has 4:4:4 output. I’m planning to upgrade to a Kona3 or a Decklink HD Extreme card to acquire some shots for visual FX with glass, performing perfect mattes to compose it into our movies.

I have friends that says that I’m some kind of M100 freak. I soppose that I am. The first non linear system that I learned to work was M100 in 1994, and I’m still feeling so comfortable using it to tell stories, that I always try to force each film project to fit into our M100 workflow, in spite of not always our projects fits into, some times because of the codec, some others because of 23.98 PN support, etc. I’ve saw myself forced to use FinalCut more that I can bear.

I will go to the NAB to see some tools that we could use into our film scheme, like 4:4:4 recorders and, of course, 4:4:4 cards.

I know that isn’t that simple for the engineers to release so many features for so wide aspect of applications and costumers. But I don’t loose my hope about it.

All the best,

fermin

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.

[Fermin Branger]

Thanks friends, i’m using a panasonic lh 1700 that support 1080 23.98. This morning i could acquire monitoring, but when i went to chek my clips i only get image from the display of the computer. I have sinc problems too, my monitor detects 1080 23.98 signs, but bkinks to “no signal” quickly. I cant acquire analog audio neither, getting -2014 error.

[Fermin Branger]

I’m trying to acquire without up/down conversion to get some second kind backup. I’ve tried to perform it using conversion but it doesent worked. The 1080 23.98 clips that I acquired in the tests didn play out to.
Thanks

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.

[Fermin Branger]

Thanks Bill!

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.

[Fermin Branger]

Thanks Matt!

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.

[Fermin Branger]

Hi,
I remember, somewhere in the past, when M100 released the audio effects option, they said that (in the future) there will be more audio fx capabilities or plug-ins to perform a deeper and richer sound process. I love the way that M100 let us process our audio files but It would be so great to have noise reductions options. I use to export an XML file to FC and then send files to Soundtrack to do that.
I would like to have some kind of “contrast” option or “amplifier” option for audio waveforms too, because the image of the waveform are so pale gray, that my eyes cry…
It will be so great to have an “select all” channels to “show audio waveform” too.

I dream to have a 1080 23.98p output trough my LHe like FC, instead of psf only (I know that “P formats are rare”), but I always think that “why FC can output P formats and my M100 doesn’t, if they are using the same card?”

I’ve noted that my M100 info window says that I have ProRes 4444 support and It’s true because my files are updated when I import them, But I noted too that it is at 8 bit color depth only (?)

I feel that Panasonic will release their new High 4:4:4 Intra (AVC-Intra) codec & recorders next year and I’m so excited because I could acces to the whole power of my new Varicam 3700 in our film productions (log response… wider dynamic range).

I know that it isn’t the way that M100/Boris are taking yet, but I’m sure that if M100 takes the first step in this way there will be a lot of digital film producers around the world that will come to see what’s happening and why there is so many editors saying that M100 is the best tool to tell their stories, now that there wouldn’t be more excuses to say: M100 can’t support this nor do that.

Now that there is so many people searching for the “better” camera, the “better” codec, the “better” workflow, etc, etc., the market is in permanent reassessing. Raw support is still so expensive and, in more of the cases, unnecessary. There is so many “marketing” Megapixels hypnoting to the unwary; promises of new cinematic quality that means higher costs to post process that doesn’t justifies to work on video. Fortunately there is a lot of people saying too: “Wait a second, let’s think again: who are the more trusting systems? ..Why are we spending so much money to give 4K R3D files obtained with a common HD sensor? Why we need to edit reference files if the original files are resized and shifted to get that “Big”size? Why are we paying for Scratch sessions to color correct that files and conform it? Can we down costs without comromising quality?

I think that AVC-Intra, as in the past DV-DVCPRO-DVCPRO50-DVCPROHD, is a very good answer for the next years, Like ProRes codecs. The fact that, in the past, M100 were one of the first systems that supported these codecs allowed us to did more things, with cheaper equipment at very good quality.

We don’t need a system with a ton of tools, we need support to do the best thing that we know to do: tell stories with images and sounds to communicate emotions.

M100 is the perfect tool for that.

These times of economic caution and needs for high efficiency at lower costs, call for such kind of decisions.

*once again: excuse my poor english

All the best

fermin

Fermin Branger
ALFARERIA CINEMATOGRAFICA
Caracas, Venezuela.