[Jeremy Garchow]

Ugg! Powerpoint. Playing them out to tape is a really good way to do it. We usually run a scan converter and record on to beta and make stills from there.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

What kind of lights are they? Depending on what kind of light you have, you can get the European equivalent lamp and relamp the light. That way you can pack just like you would here, including non fused power strips. All you need is the edison to ireland plug wall adapter (kind of like a 3 prong to 2 prong adapter). You need to figure out what kind of domestic lamp it is and find it’s european equivalent. Call the light manufacturer and they can point you in the right direction. Much better than hauling around very heavy voltage converters.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Render the graphic in your timeline, & also, make sure your graphic is on a whole number in the motion tab (such 121,145, not 121,4, 145.98)

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

I worked at ajoint that had a few of the ez quest cobra drives (big silver plastic thing, right?). It always made strange noises at start up and always worked like a champ, even though it sounds like a garbage disposal.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

I’m not in front of FCP and I’m not sure if this will work correctly so here goes:

I would first select the clip and copy it, drag it to the length you want, then hit option-v (or the paste attributes menu item under edit) . A dialog box will pop up, select the keyframes you need to copy (such as basic motion, opacity, etc.) and make sure the “scale attribute times” tickbox is checked at the very top of the dialog box, that will scale the attributes to the length of the clip.

Hope this works and helps.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Nope, it’s a Kona 2 ‘anomaly’. Kona 2 will automatically remove the duplicate frames, leaving the only frames you need for the desired slo mo at the desired frame rate of 23.98 fps. You are doing right by duplicating the amount of time. the alternative is to capture everything @60 fps and use the FRC plug in and create new slo mo media. Kona 2 is a lot easier as it does this process on the fly. Just make sure you slate you VFR shots well with plenty of heads, some people even like to use different tapes for VFR shots. Hope this helps.

Jeremy

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http://www.madayproductions.com

Members

[Jeremy Garchow]

What kind of drives do you have hooked up? What are your energy preferences set to? Any other PCI cards installed?

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

What Jeff says, and the alternative is to send out a letterboxed Beta SP for subsequent enlargement. If you are giving this to projectionists, they should be able to take whatever you give them and size accordingly. To gain the most resolution yuou should output anamorphic 720×480 (or 720×486 if you are working in uncompressed) and have the projection guys stretch the image to the correct 16:9 aspect ratio using a switcher. if you give them a letterboxed copy, your image will essentially be 720×404, and this is where you lose the resolution Jeff is taking about. The switcher will then scale the image up to fit the 16:9 screen. Hope this helps and makes sense. If not please post back.

If you are not giving laying off for projection, then the monitor will have to have a 16:9 squeeze option (such as most newer broadcast monitors) to view the image in the 16:9 aspect ratio.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Why don’t you go component out of the 45 to the UVW-1800? That will get you a cleaner/less soft/less washed out image. Double check your settings on the 45 and see if there’s an add set up to analog outputs. That way you know that the proper setup is being added on the way out using your deck. You can add setup in FCP by duplicating your timeline, use a scope, and raise the blacks to 7.5. If you have bars and they are calibrating to your bars, raise the blacks on the bars and the rest should adjust accordingly.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Follow Walter’s advice, or create the different color still mattes in photoshop/after effects and put them on the uppermost track. That way all you have to do is position the video underneath. This will ensure the split in the middle is always the same size. Hope this helps.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre