[Gary Hughes]

Thanks Michael. It ended up being one clip’s fault. Thankfully, It’s the rehearsal hand held and I don’t need much of that camera on these two songs anyway. I’ll just edit those parts in the old fashioned way I guess.

Thanks again.

[Gary Hughes]

Dave,

There are a few ways to reduce the saturation in the whites. You can use a Desaturate Highlights filter, and I’ve done that. That works if you have more than one color in the highlights, like a blueish hue in the top left and a warmer hue in the top right because of light coming in through a window on a scene lit with tungsten. However, if you don’t have multiple hues in your highlights, and especially since you are using the 3 Way CC anyway, I would just try to use it to neutralize or white balance the whites.

To do it by sight (or scopes), just drag the white dot in the center of the whites color wheel toward the opposite color of the hue in your shot till it’s right.

To do it automatically, just click the eyedropper beneath the whites color wheel and click on something that should be white in the scene in the canvas.

Here’s a great tutorial for more advanced hue matching using 3 way CC. https://www.kenstone.net/fcp_homepage/match_hue_fcp_5_balis.html

Have fun,
Gary

Thanks,
Gary

[Gary Hughes]

First off, if your white is a little saturated, you can fix that easily with the 3-way CC. Reply if you need to know how.

Secondly, if your footage is close, here’s something to try. You can do this with either 3-way or 1-way CC. Take the slider for highlights (whites) and push it up till you have acceptable white in your BG. Then take the slider for mids and slide it down till the people are acceptable. It may take a little tweaking, but if you are close to begin with, this may work. It won’t ignore the people completely, but you may just find a happy medium. If you go too high with the whites, just throw the broadcast safe filter on top.

Hope this helps,
Gary

[Gary Hughes]

Would I be better off with the Sony LMD-2030W LUMA Series 20″ Professional LCD for less than $1300? The only discussions that I’ve found about it here seem to be from those discussing SD. I know there are interlacing and upresing issues to display SD on a low-end HD monitor, therefore I don’t plan to do that. I’ll stick with my CRT for SD projects.

I know it’s a low end HD monitor, but is a better solution than the dell and HDLink for HD only?

Thanks,
Gary

[Gary Hughes]

Thanks for the reply Shane. Sounds like a plan, but just for clarification…

“1) Get an AJA I/O HD. It connects via firewire 800. WOrks on G5s and MacPros and MacBook Pros.”

So, the requirement for intel processors is only for ProRes? The box works in every other way? I’ll be able to capture from single link HD SDI to DVC Pro HD, SD SDI, and SD Analog Componant to DV or Uncompressed without problem, and playback SD Analog Componant or HD SDI without problem for monitoring or print to tape?

“2) Basic color grading…yes. BROADCAST color grading…no. But it will be fine for other needs.”

Do you have an alternate suggestion for close to that price?

“3) THe difference between them are the connection types.”

Are you saying that they look the same, or just close enough that I won’t care? I only need a DVI input, so that doesn’t matter.

Thanks,
Gary

[Gary Hughes]

Dennis,

Are you referring to the mini plus on the litepanels site? If not, do you have a link?

Thanks,
Gary

Thanks,
Gary

[Gary Hughes]

Thanks for all the input.

I really like the idea of the LED lights Michael. I should be able to tuck those really close to the wall and/or ceiling since they don’t produce much heat and are only 4″ thick. I’d really like to see some footage from those lights. I called prompter people and they don’t have any footage online for those lights yet. By chance, do you have any online that I can see, especially if they happen to be mixed with sunlight in any way?

Thanks again.

Gary

Thanks,
Gary

[Gary Hughes]

David,

I was just about to post about this and found this discussion on the way, so I have a question for you.

I just upgraded to FCS2 on my G5 dual 2.7 with (embarrassingly) 2GB of ram. At the time, I primarily work in DV. It seems that performance of fcp dropped a lot for me in the upgrade. Will a ram upgrade do a world of good for me since my machine isn’t intel based, or should I just dive in and upgrade the machine? I have 4 seagate barracudas in a raid 0 config so I don’t think that’s a problem.

Thanks,
Gary

[Gary Hughes]

btw, the deck is a Sony DSR-45 and I’m capturing via firewire through an add-on firewire card.

Thanks,
Gary

[Gary Hughes]

I’m not working in HD. I’m using the DV NTSC 48kHz and DV NTSC 48kHz Advanced (2:3:3:2)Pulldown Removal capture presets. Aren’t they drop-frame by default?

I get the message every time I start to batch capture. I get it with or without a tape in the deck, and I have the deck set to drop-frame and I know all my tapes are drop-frame.

Maybe I am missing something, but I don’t think so, unless Apple changed the default presets (mentioned above) between version 5 and version 6 of fcp.

As for the other message that I get, the one after some clips capture, it is completely random. Within one source tape, from one camera, from one shoot where no camera settings were changed between clips, sometimes the message shows, other times it doesn’t.

Any ideas?

Thanks,
Gary