Gunleik Groven
12
COW Coins
Forum Replies Created
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Thanks for the great reply!
I do have a few additional problems. ( I am on PPro 9.2.1, I know some of these issues are fixed in 10x, but I need this is a broadcasting corp, new versions don’t just “get installed”)
Here they wanna use multi clip instead of merge-clip to be able to refine sync beyond TC. (If it was possible to re-allign sync in merge clip, that would have solved most 1-camera shoots)
When I import a multicam xml and check the “AudioChannels” (see image), I have the expected sound on the expected channels:
But when I playback from “Source” the clip is silent.
If I Disable “Switch Camera Audio” in multiclip, I get some audio in the source playback:
But if I then drag that clip to the timeline I
a) Don’t get waveforms
b) only have one track of audio
If I then “Flatten” the multi clip, it looks “right”, but I still just have playback from one out of 4 channels
These are my Audio Preference settings:
This clearly is a mapping issue and a behavior issue.
but what???
G
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The second is the best, as I need the TC-reader,not generator, but that’s a good idea, thanks.
Is there a filenamereader, too (so I could burn in filename AND TC?
Cheers!
G
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Conforming to/from the proxies is pretty trivial, and on short projects with short turnaround I have used to do the proxies.
You should look into clipfinder for conform/firstlight. I even think the free version do conform and render. It’s really handy and quick.
For long form, offline/online is much more flexible and secure.
Cheers
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Alexa vs Epic is going to be THE buzz of the next year.
And none of them are publicly out yet.Except for Jim & co + Offhollywood, Steve Gibby on the RED side, Michael and the Arri Staff + their select beta-testers, very few of us really know what we’re talking about here… Even fewer have had long sessions with both systems at this stage, and – if any – they probably are under deep NDA’s.
I am in the RED camp, just to be clear. Have a R1, go for Epic and work in RED-centric environments, currently on a TV-series for NRK (nrk.no) recording on two R1s + 5D.
That said. I am looking foreward to play with the Alexa.
I think it will be a great cam, and I see that ACs love the D21 for it’s “standard features, OVF and film-camera feel of operation”.
Actually I think both cameras will be rather cool to have… -:)Here’s a couple of off-hand thoughts, though.
Prores.
I think RED will have to do it, and it is recently confirmed that they’re actually are doing it right now. This feat looks so sweet from the outside, and will be “good enough” for a lot of projects (more on that later… -:)That said: I deliver 1080 prores HQ files as offlines and 640 h-264 for dailies at the end of the day for the 2-4 camera (depending on day) TVC I am currently on.
Transcoding 5k in realtime will need an upgraded rocket. So I guess we will see an upgraded rocket about at the time we see the first release Epics…
As long as the transcode is realtime, copyspeeds are more of a bottleneck than delivering offline files directly off set.
Even with an extremely small crew (DOP + on-set editor) we managed to set up a workflow without a rocket that gave us 3 copies + offline files @ the end of the day on a feature in Northern Iraq.
The “record prores” argument to me sounds more sexy, than I think it practically is.
Still I think it will be an extremely good sellingpoint. (even when the producers loose the RAW option, because it will be too expensive to practically go for)Formfactor.
This is a draw – to me.
The compact/lightweight setups possible with the Epic has become more of a dealmaker to me, than it innitially was.On the show I am curretly on, they’ve opted for a couple of 5D’s in the soup because they fit in “anywhere”. The image quality of the 5D is… not good. Pulling focus on it is nigh impossible (the 5Ds are rigged down to a minimum, that’s the whole purpose…)
Still a very experienced DP and a – in Norwegian Context – very high end production company opt for the 5D for its size and sensor-size. Line-skipping, moire, jello images, h.264 and all.
The possibility of landing these shots with a good camera with a good set of post-choices is in my opinion a big argument for the Epic.
After dragging my R1 around the world for almost 2 1/2 years, I also look foreward to being able to just “grab a cam and shoot”, which will be a lot easier with the Epic.
Alexa will undoubtedly be “like a filmcamera” out of the box. AC’s especially love “no-bullshit filmcameras”.
Epic will be possible to assemble “film-style”, but the out-of-the-box experience of Alexa will probably be very appealing to a lot of customers.
RAW
Not being an engineer, I won’t attempt on arguilg which is “better”. They probably both will be quite cool.
To me and the settings I’ve been working in – the “Compressed RAW” has been what has made it all possible, though. There aren’t a lot of SR/Codex decks lying around in Norway. And I will never have one. Thus, to be able to work with RAW at all – for most projects – is a clear advantage towards Epic. For me.Also seeing how the image actually can get better over time as the debayer/developing algorithms gets better, is quite an argument for RAW. For me…
VS DSLRs
Seeing how DSLRs are “good enough” all of a sudden, I think the possibility to put on canon/nikon glass and pull focus on a touch-screen on standard still-glass, is a good move.
It’s happening, and I think this is a trend that it will be hard to get rid of.DR
Seems to aim at about the same goal…Workflow:
Prores is simple
Simple is good for a lot of applications.
I assume both will record prores @ release…As for RAW, there just isn’t that many options for uncompressed RAW around here. I dig compressed.
Almost anything supports redRAW in some kind of native way by now. FCP seems to be the one getting first in and now being the worst option. Either Apple will fix that, or AVID/Adobe will get a whole new and quite big userbase jumping ship the next 6 months. That is really more of an Apple problem, than a RED problem though.
Online, REDRAW is by now uncomplicated and the options are plentyfull – as they are with ArriRAW (I guess)
Looking foreward to test the new Resolve… -:)Pixelcount…
I don’t really care too much for counting pixels.
But Norway (like Belgium) go 100% digital for screenings within the next year.As long as it holds up on a 4k screen it is not really an issue for neither commercials nor features.
I actually axpect both to do just fine…
DCMC
To me this is like prores.
It’s nice. Not a dealmaker.OVF
Will be available for both cams at a price4:3 sensor-option
A smash-down win for the Alexa for anamorphic shoots.
RED has announced – but not shown – a set of anamorphic lenses for the RED. Will be interesting to see…Economics.
RED has fitted very well into smaller markets where equipmentprices are a big part of the production budgets. AFAIK there’s 1 Scratch here, quite a few Nucodas, a couple of pablos, quite a few Smokes.Let’s face it, Norway isn’t really Hollywood. The total population is even less than London or Berlin. The RED has fitted very well into the sizes and budgets we’re working on here. The Alexa seems to partly address that. It’s going to be interesting to see how this plays out. My guess is that the bigger productions will go Alexa. For conformity. The one D-21 here is constantly rented out. But quite a few of the 60’ish R1s is rolling, too…
Well, these are my 2,5 cents…
Cheers!
Gunleik
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Yes, found it
It was trunctated, though – so I had to manually copy in the correct filenames.
Worked in the end…
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I’ve seen this a lot when I batch export a large number of files.
It seems spotlight needs “some” time to update its database before it can find stuff.
This can vary from a couple of seconds to about an hour…
Gunleik
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Actually I don’t mind the DPX’s at all. I rather like them. Once you’ve started to grade DPXs, there’s really no way back.
What I do mind is that I have to switch formats between Color and FCP to keep the files @ 10bit 4:4:4
The best would be
a) RAW all the way until final render
or:
b) One step into DPXs, and stay there untill finish
Because of gamma-bugs, FCPs non-handling of 10 bit RGB material and colors dislike of 25fps image-sequence based projects, I end up with an extra set of (uncompressed) material for each step, and the process takes days instead of hours…
Cheers!
GunleikIt’s gonna be a Red Hot Year
https://www.vulture.no/Websted/Reel.html -
Have done. It’s not there.
The problem is within the FCP project…
Thanks!
gunleik
It’s gonna be a Red Hot Year
https://www.vulture.no/Websted/Reel.html
