[Hector Berrebi]

thanks 🙂

was planning to see and try at NAB anyway.

will take your list with me

Hector Berrebi
Schibber Group
prePost Consulting

[Hector Berrebi]

Gary, hi

are you familiar with this company and their products.
https://www.tamuz.tv/frameset3.htm

one model has DL others 3G.

I am looking into them for a proposition.
read a few good things in forums,
and thought I’d check for myself at NAB

but then i didn’t see them on your list…

any input?

thanks

Hector Berrebi
Schibber Group
prePost Consulting

[Hector Berrebi]

thx Rafael 🙂

Arnie.. the thought did cross my mind.. so many things i want to inflict on the damn ball

Hector Berrebi
Schibber Group
prePost Consulting

[Hector Berrebi]

Raphael..

https://www.amazon.com/Apple-Pro-Training-QuickTime-Quick-Reference/dp/0321442482/ref=sr_1_1?ie=UTF8&s=books&qid=1237125769&sr=1-1

good book, worth the 20 bucks.

Hector Berrebi
Schibber Group
prePost Consulting

[Hector Berrebi]

Cybil Shepherd glow… 🙂 another way to achieve it

basic color correct your video,
then
double up your video, from V1 to V2

on V2, put a desaturate filter and a gaussian blur at 8 to 25%.

now lower the opacity of V2, 30% would be a good start, then go up until you are happy with the result.

you can also change the amount of blur on V2, the amount of desaturation and how open the hilights CC 3 way on V2 are. all these will change the look of your glow

about matching sky from cloudy to sunny. this is never simple. the sun affects every single shadow in your shot in a way that only the sun (or BIG expensive lighting) can. when its cloudy, not just color and temp change, but the entire shadow scheme of the shot, and while the first 2 can be fixed, the later is rarely the case.

there are several techniques for sky replacement (look up in google). some involve keying out the sky and colorizing it with color wheels and saturation (secondary color correction). others mask out the sky and replace it with a new one. in other cases its a combination of the two techniques, masks (vignettes) to isolate then key to select.

if shot is moving. you will need tracking.

color can do a pretty good job at all of that.

if you have complex trees on your skyline, the first method would probably work better, as trees can be hard and time consuming to mask.

here are two basic tutorials. none using FCP but you will get the idea.

https://library.creativecow.net/articles/kramer_andrew/sky_replacement.php
https://www.viddler.com/explore/Emeek77/videos/135/

if you are not sure of what you are doing, and can’t bring in someone who can fix it for you.

maybe re-edit to use a minimal amount of bad sky shots? (the viewers never really know what you didn’t use) or maybe exaggerate the difference between the two looks instead of trying to match them.

hope this helps.

Hector Berrebi
Schibber Group
prePost Consulting

[Hector Berrebi]

it feels like the two events are unrelated.
at least from the way the rumors are presented …

is it “happy March” at Apple this year?

Hector Berrebi
Schibber Group
prePost Consulting

[Hector Berrebi]

Michael

i think you got this slightly off…

if i wanted an effect of everything slow but her mouth (or the opposite) i would need to record her singing fast or slow matching the frame rate. we play with these options once in a while..

however, in this case, the slow footage is projected, re-shot at 5 fps there for sped up, back (hopefully) to sync.

if i take the 50 FPS footage and turn it to 200% it syncs

so if i export it as 40% turning it to 20% of original, when its shot at 5 fps it will go back to 100%

Rafael. eventually its what i wanted to go with, but too tight of a deadline and no time for renders… will go with blended at best render settings

thanks

Hector Berrebi
Schibber Group
prePost Consulting

[Hector Berrebi]

Michael
i try not to tell my clients things of this sort… at least not before they pay 🙂

he shot 50 fps, singer singing normally, not a faster version.

final output of course is 25 fps

thanks

Hector Berrebi
Schibber Group
prePost Consulting

[Hector Berrebi]

yes, you are.

if you export – “Same as project” settings you are exporting a DVCproHD QT at its fullest quality (depending on what you did in your project of course).

you can deliver it as a master

print to a DVCproHD tape

or re-encode to anything you need

it is the equivalent of a QT PAL-DV coded file from a DV project.

Hector Berrebi
Schibber Group
prePost Consulting

[Hector Berrebi]

David.

the pixels when shooting DVCproHD 1080 are not square. that gives the added width to show you a full HD image

in a “true” 1080 HD file, pixels should be square.

when you place a DVCproHD 1080 file in a timeline and match timeline to clip, you are working on a 1920 size frame, with 1440 stretched pixel.

for example, if you export it as QT, and the look in movie inspector, you will see a difference between pixels, and actual size.

if you deeply want true 1920 square pixel. recompress your DVCproHD files to prores HQ. this will require drive space and time. and i am not sure how efficiant and worth it it would be.

i work a lot with DVCproHD. i know its limits, but overall, and especially when coming from a good camera such as HPX500, the results are excellent to work with and clients are happy. regardless of the stretched pixels.

new hpx300 (not sure that’s the name) shoots AVCintra on P2, which is 1920 sq pixels, AND 10 bit… you could look into it 🙂

hope this helps.

Hector Berrebi
Schibber Group
prePost Consulting