Jeff Meyer
Forum Replies Created
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You might be able to use the Limit Effect area of the 3-way Color Corrector to accomplish this task. Limit based on the top of the Luma range, then bring the right-most highlight area down. Also consider adding a yellow shift on the right-most circle of the 3-way color corrector. Monitors tend to have a blue shift.
Do be careful using this method. It will tame highlights on your subject – possibly unnaturally – and doing the color shift could bring some unwanted results. When in doubt I would focus on making the person look better instead of the monitor.
For the future, this is the kind of thing that adding more/better lighting for the subject, or putting a sheet of ND (under $20) on the front of the monitor would take care of in the future.
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With the 853×480 QT Pro joke it will always look a bit soft on a computer, but when you burn it to a disc it should look fine. Glad you’re more on track now!
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Sounds like a G-Tech G-Speed is right up your alley. I would suggest an ES or an ES Pro, both of which require a PCI card. Double the speed compared with a firewire drive. Pick RAID-0, or RAID-5 with a 25% penalty on total size for the redundancy.
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In 35mbps mode the camera shoots thin raster HD. 1440×1080 with a 1.33 pixel aspect ratio.
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I have two main questions.
• Why are you using proxies for a 5D?
• Why are you using multiclip for two cameras?If this were my media, I would bring the 5D and C300 footage in as ProRes422 and cut it on a timeline. Put the C300 on V1 and the 5D on V2, then remove/add the 5D depending on which camera you want to see.
The proxy workflow makes sense for R3D or other 10 bit 444 sources, but from 8 bit H.264 (5D) or XDCAM50 (C300) sources ProRes422 is lightweight enough to work with, and pristine enough to color correct from.
If you insist on multicam being the approach, export your 5D footage as an online, synced clip with black chunks between the clip breaks. Make a proxy of this file if the payload of two ProRes streams is too much for multicam. If you’re interested in doing it right, match timecode between the C300 and the synced 5D clip.
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The basic rules:
Shoot to the deliverable (1080i broadcast, shoot 1080i, not 1080p not 720p, etc.)
Edit based on what was shotIf you have a bunch of SD media (720×480) it would be best to edit in SD, then upres at the end.
If you have mixed media edit to the highest quality deliverable, then convert for the others.
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Nope.
When you’re hanging pictures on the wall a sledgehammer is overkill. Sure, you’ll get the nail in the wall with a sledge, but you’ll waste a lot of energy in the process. You can build everything in 4k if you like, but if your deliverable is 1080p you’re wasting render time and disc space.
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It’s 100% critical to know your deliverable before starting in Final Cut. If you’re finishing in 720 HD work in 720 all the way through. Slow computer or otherwise, this is the way to work.
Since you’re started you can nest the low res sequence into an HD sequence. This will perform all the moves/scales at low res, then blow the result up to HD, which will be soft. Redoing everything in an HD sequence is the only proper way to handle this situation.
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I’d give a +1 for ProRes.
XDCAM is a long GOP codec. I believe XDCAM35 is like XDCAM50 – 15 frames per group of pictures. I had similar issues with XDCAM50, but using ProRes made things pretty stable. You’ll certainly pay for it on disc space, but disc space is cheap compared to half your time being spent restarting Final Cut and getting back to where you were before things crashed.
With current projects kick the sequence compressor over to ProRes, and make sure you’re working in 8 bit, not 10 bit. XDCAM is an 8 bit codec, so there won’t be any appreciable losses to the footage after color work.
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iLife doesn’t acknowledge Final Cut Studio’s anamorphic flags. It just works, right?
My advice is to use DVD Studio, but if you prefer iDVD you MUST have Quicktime 7 Pro. Quicktime 7, in conjunction with the workflow below, will allow you to author the DVD you’re looking for.
https://support.apple.com/kb/TS2179