Hans Damkoehler
Forum Replies Created
-
For me Broadcast monitors have always been a really subjective subject, with cost being a major factor between what I would get if money were no object, and reality.
That said, the BT series has been my choice. I’ve worked with the 17″ and 26″ models and have been happy. I miss not having a blue gun mode for calibration, and the fan can be a little annoying from time to time but there are upsides too. The waveform monitor and form factor has allowed me to dual purpose the monitor for the field and for edit. The 17″ model seems to be a staple of many rental house offerings. Image reproduction, color has always been tack on for me and not an issue. It will serve you well.
If you like the first one you mentioned and it’s in your budget, I’d go for it. You will probably feel the best about the image on a monitor you have a pre-disposed confidence in. For me, the BT series has worked well. I purchased my first one, btw, because I could not afford the Sony and Marshall monitors I was eyeing at the time.
Good luck!
Hans Damkoehler
VideoBloom, Inc.
Senior Video Editor/ProducerWeb: hd-editor.com
Twitter: hd_editor
FaceBook: https://www.facebook.com/hdeditor -
Just make sure to de-interlace or you will be hating life.
Hans Damkoehler
VideoBloom, Inc.
Senior Video Editor/ProducerWeb: hd-editor.com
Twitter: hd_editor
FaceBook: https://www.facebook.com/hdeditor -
I’ve seen this effect used in a lot of the TMZ like shows. The way I’ve replicated it, not that it’s perfect, is to use a glow effect on the last 5 or 6 frames of the outgoing clip and then reverse the effect on the 5 or 6 frames of the incoming clup. This basically blows out the person but leaves the background relatively intact. The trick is that it’s not a transition effect (like a cross) but applied separately to the head and tail of each clip.
I’m sure there are easier ways, but this has worked for me. It basically grows the flash out of the subject and then reverses it.
Sapphire effects work great if you can spring for it!
Good luck!
Hans
Hans Damkoehler
VideoBloom, Inc.
Senior Video Editor/ProducerWeb: hd-editor.com
Twitter: hd_editor
FaceBook: https://www.facebook.com/hdeditor -
Yahoo! Glad that worked for you.
I ran into this issue when I first started with my HVX and it killed half a day’s shoot when the card was already reformatted and no back up of the source material. Thankfully you had it backed up!
I assume your footage was recorded in Native (PN) mode. This camera mode automatically discards duplicate frames when recording in 720p. The end result is that you get more recording time out of your P2 card, which rocks. However, if the checkbox is checked in FCP then its going to go ahead and remove frames that it is assuming is there, but they are not because your camera did it for you! Thus it is removing frames that you need! The end result is a heart attack as you watch your footage that looked fine in the Log & Transfer screen but is all screwed up after import. Audio slowly drifts, the clip ends too soon, etc. It’s a nightmare, and I believe the box is automatically checked by default and is not obvious so it is easy to miss if you don’t know about it.
In a nutshell, though this wasn’t really your issue, Pulldown is when you are converting frame rates, 23.98 to 29.97 for us NTSC folks, and the the original frames are divided up over fields to create extra frames. This FCP feature can be used to REMOVE pulldown (those half and half frames) if you were working with 29.97 footage at 1080i or 480i that you want to get to 23.98 once in FCP.
I don’t deal with that much in my line of work so my explanation may not be completely on target. But that said, I’m glad my previous heart attack helped you in the end!
PS – happily married with 5 kids, so I’ll have to pass, but thanks for the offer! 😉
Cheers and good luck with your piece!
Hans
Hans Damkoehler
VideoBloom, Inc.
Senior Video Editor/Producer -
I’m not sure if this will help but look and see that Advanced Pulldown is NOT checked in the Log and Transfer Preferences. If it is checked, uncheck it and retry your import on a file. This may help solve the issue for you, as I’ve had this happen similarly before.
To be clear, it is the “Remove Advanced Pulldown” checkbox I believe.
Hans Damkoehler
VideoBloom, Inc.
Senior Video Editor/Producer -
Jason,
Having cut a green screen doc myself and going through the same questions, I concur with everyone else: key it later. Focus on the story; edit now and only key it after you are locked or at least have the story down. You will spend far less time cutting and pasting filters and backgrounds down the road than wasting time perfecting the key on a bunch of footage that will never see the light day.
For me, I like to use the BCC plug-ins over FCP’s but that will cost you some money. Less than others though and it will save you from going to AE, etc. If you’ve got nice, evenly lit footage though you should fair well with FCP. Some experimenting will reveal the truth quickly.
Either way, my suggestion is to cut now, key later. Good luck!
Hans Damkoehler
VideoBloom, Inc.
Senior Video Editor/Producer -
Hey Charlie,
Can you do it in Motion?
1) Drop that portion of video on your base track in Motion
2) Create a new layer and drop a white background on that track.
3) Then drop a circle mask over the white background (in the same layer.)
4) Set the mask blend mode to replace, fatten up the feathering and then animate the mask to grow how you want it over the time you want it to happen.You could probably do the same in FCP, I just find that Motion works quicker for with this type of thing. Hope it helps or inspires an idea.
* Basically what David said, just in motion with animation (to get that effect you are looking for.)
Hans Damkoehler
VideoBloom, Inc.
Senior Video Editor/Producer -
Che,
I’ve found the absolute best thing is to stay completely native in FCP then send it to Beta via a Kona 3 or the like. The realtime scaling works flawlessly. Mucking about in FCP, nesting HD timelines into SD sequences … ack! … it all just gets messy and can introduce far too many potential problems.
I don’t have that equipment so I media manage the sequence to a portable HD and head down to a local post house. They charge me for 30 minutes and I walk out the door with some betas. Works great!
Good luck!
Hans
Hans Damkoehler
VideoBloom, Inc.
Senior Video Editor/Producer -
Thanks guys …
So let me sum it up:
Create graphics and Edit natively in FCP/Motion.
Take project (or native final .mov export) in to post house
They can downconvert and CENTER CUT my project (the final is in full-frame/4:3) to …
Deliver on Beta SPYou are right, I was thinking that I needed to compensate for the specs of the end deliverable/media (Beta SP) WITHIN the edit. Obviously I need to be aware of the end frame size (full frame 4:3, not letterboxed) but other than that I create graphics and edit footage natively and transcode the END result. Correct?
Thanks again guys!
– Hans
Hans Damkoehler
VideoBloom, Inc.
Senior Video Editor/Producer -
Hey Wayne,
So if that is the wrong way, what’s the right way? I am taking it to a post facility that can dup off to Beta via a Kona, yes.
Hans Damkoehler
VideoBloom, Inc.
Senior Video Editor/Producer