James Sullivan
Forum Replies Created
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Thanks for the info. I did not know about the 444 wrinkle.
James Sullivan
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The KONA 3 is digital only. It does not have analog inputs!!!
James Sullivan
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Mark, are you going to switch to Apple Prores Proxy for your offlines? I ask because the company I work for shoots too much as well.
James Sullivan
Online Editor Half Yard Productions
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We have just completed a series that was all vericam 24p. The masters were HDCAM at 1080 24p. That seems to be the master they want. You might have to get permission to do 1080i. Prores takes up more room then plain vanilla DVCPROHD at 24p. Something to think about if you are using acres of stock footage or your shooting ratio is too high. My question is whether it is better to online at proress if you plan to grade using color? Or is it better to stay native and run the DVCPRO into Color but come render out on the backend in Proress? Can you push a shot further using one codec over the other?
James Sullivan
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Well that explains that one. I was starting to think it was me. I use the BG Render UI script and have it as part of my layouts. I guess I have to close it before I get out of AE. I have not lost any work as a result but it is a pain to have to keep closing the crash report window every time I switch modes.
Thanks for explaining the bug.
James
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It is easier to garbage matte things in AE depending on how bad the greenscreen was shot. I was actually curious to see how Keylight works from within FCP? Is it fast and stable? I would love to stay in FCP as it is less work sort of… I have been very happy and or lucky with the results. Some where there is a $1500 greenscreen keying plugin that is supposed to be the end all be all. I am quite happy with built into AE Keylight. I am however doing sit-down interviews and not the next star wars.
James
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Dude you are a genius!!! I tried it out last night and it looks pretty good on some crappy DV uprezed to HD. I was looking at Topaz Labs scaling plugin as well as Red Giants Instant HD as alternatives.
My one gripe would be that Motion is weird in that you put the filter on a clip in a layer and it does not expand beyond the bounding box for the clip. You have to go and make the scale property bigger which sucks. I have been using AE of late as it runs better on my laptop and in my head. Am I using the filter properly? Is there a way to port the image unit directly into FCP? I know the Fxplug filters work across party lines but I have not seen “Image Units” flip over the isle per say. I do tons of blowups because of matte boxes on tiny HDV cameras and other reality television cutting issues. (Lack of coverage = blowing up shots to make cutaways….Grrrrr)
I have been on a big push to get the best results for my company in terms of the quality of our final product. I am using AE now to do all speed effects as well as advanced tracking. (We are still on FCP 5.14 so we don’t have motion 3) Thank you for the great tip as not everybody has AE on their FCP boxes.
On a different note, your previous exchange with Walter and Gary on math vs. hardware was very illuminating. I have been thinking along the same lines of late as I am working on a series that actually needs to look good. I hope that the next FCP addresses some of the under the hood math/quality issues. Maybe Shake will enter the picture again as I am assuming Apple will port the math into its other products which could give birth to FCP extreme in all of it’s projected glory. Or the whole company will fold and we will all bend over again for AVID. (No offense and thanks for finally waking up by the way! Bring the DS to Mac for three grand and we’ll talk…)
I am on your side in that it is all going to be software at some point even though I agree with Walter and Gary on the quality of dedicated hardware doing what it does best. (Consume more electricity and not fit in my bedroom) On the other hand, I like overnight renders because I can go home!!! At this point I should have been a math major except that I hit a major wall with calculus. Oh well…
Happy new year,
James Sullivan
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Hello Rafael, What do you mean by “lanzos” in motion? The motion tab scaling in FCP is crap. Compared to what an Avid DS can do in terms of scaling a shot up. I can’t push an HD shot past 120% where the math the AVID is using can go closer to 200 percent before getting crappy and soft.
Thanks,
James
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My favorite part of making EDLs in Final cut Pro is if you have any freeze frames from video sources. In FCP 5.14 it will not export an EDL. Period. It looks like it does it but creates no file. You have to remove all of the freeze frames and magically and EDL comes out the other end. Don’t get me wrong I love the idea of the EDL, 10 second preroll and punchcard editing but FCP really needs to step up the “Pro” come NAB this year. Until the post industry decides to make up and support “open sourceness” we will be stuck with one video layer EDLs to be able to switch between bigger and better sandboxes.
James
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This has been the best thread in a while. I work on reality shows and have used them to learn how to be a good post guy. I cannot say editor because I have to do it all. Organize, cut, make selects, online, troubleshoot technical bits, graphics. All the steps you need to know how to make a good product are involved. One day when I get a chance to work on something that will change the world I will know how to do it. The editors are the ones who make the shows. (I guess producers help too?) Writers are very important and are worth the money. Finallly, for the love of god turn the camera off every now and then. Shoot a begining middle and end. Compose, light a scene, anything. Keep the mics on. Room tone! We have been beating ourselves up. What about those field people. They suck too!!!!
much love,
James
P.S. I love that this has not been a tool argument but a people suck arguement.