Joe Murray
Forum Replies Created
-
That tiered system sounds like a lot of extra work for YOU.
Joe Murray
-
You should be OK with the HVX, depending on what you have to do with the footage (eg. I would not try to shoot a feature film quality greenscreen shot with the HVX). The main issues keying DVCProHD have to do with edge artifacts due to the codec’s pixel shift technology to turn 960 x 720 pixels into 16:9 720 HD. This can usually be overcome with some decent matte tools downstream from the actual key effect. If I were you I’d try to avoid challenging key material such as wispy hair or objects that are small in frame, because the matte tools will affect these more than larger objects with clean edges.
The HVX has a pretty cool feature called a “marker,” which when turned on will act sort of like a spot meter, telling you the luminance value of whatever you point it at. If the DP uses the HVX a good bit he will know how to do this. I recently did a greenscreen shoot and was able to aim the camera at the greenscreen and slowly pan around the entire screen to make sure we had nice even lighting and a luminance value of 45%. The marker feature helped us nail the lighting, and I was able to do the final keys in FCP without having to step out to a compositing program.
The only other thing about that particular project that helped us was that we were finishing to SD, so the edge artifacts were much less noticeable than when projected in HD.
Joe Murray
-
Occasionally I’ll have to reboot due to out-of-sync audio but I’m not sure if this is a Kona or FCP issue. I’ll second Jeremy’s experience when jumping in and out of After Effects and FCP, sometimes weirdness ensues. And maybe once every six weeks I get some really strange issues where the Kona doesn’t display video properly if set to 10 bit, and when I switch it to 8 bit everything works fine. A restart fixes this issue as well.
Joe Murray
-
The great thing about desktop editing software is that it’s very accessible. The bad thing about desktop editing software is that it’s very accessible. Back in the day of linear suites, technical ability wasn’t an option…now it is. Now creativity trumps technical skills every time. I’ve met more than one editor that cuts national commercials in a top market who has no clue about how the editing system actually works, where the media is stored or how to solve common technical issues when they arise. “That’s what the engineer is there for.”
And even in smaller shops where there’s no fulltime engineer, editors can usually squeek by without having to be the kind of problem solver you’re looking for in your editors.
The other thing to consider is, can you pick up some help from a market that isn’t as busy as yours, where there might be some good ediors available at a lower rate to offset travel costs?
-
I no longer use Avid every day, because I don’t own one. When I have to do long form with FCP, I do miss some of Avid’s features, at least the way I remember them. But if I had to edit a long form in Avid again, I’m sure I would find just as many things I miss about FCP’s workflow. You can’t have it all in one app, I guess.
Joe Murray
-
OK, thanks for trying to cover all the bases. Here are all the specifics:
1080i60 shot with 24p (not native, not progressive, not 24pa, just 24p over 60i)
imported via P2 import in FCP 5.1.4
did not remove pulldown on import
clips show in FCP as 1280 x 1080, 29.97 fps, DVCPro HD 1080i60
sequence settings match clip format exactlyDoes this help?
Joe
-
24p OVER 60i. If it was true 24p I wouldn’t be having field and pulldown issues in the first place.
Joe Murray
-
What drive array are you using? Assuming you’ve run the AJA Kona System Test, what speeds can your array sustain?
Joe Murray
-
Don,
Just curious, which Caldigit unit are/were you running? I had problems with the S2VR 5-drive unit, but have been using an HDPro for the last couple of months with no issues.
Joe Murray
-
The footage was shot 24p over 60i, I think, and I’m editing it with the same sequence settings. This is not related to the sequence since I’m working directly with the source clip. I’m having trouble getting it to render a slowdown properly in Twixtor. Not sure if the problem is incorrect field order or incorrect pulldown cadence.
After doing a search for “DVCPro HD footage field order” the information I find seems to indicate upper field first. Does 24p play a part in field order?
Joe Murray