[John Christie]

Stick with Cinema Tools. No need to be mucking around with Compressor. Here are two videos I’ve shot that have 30 frame slowed to 24 with Cinema Tools:

Galapagos Islands (around 2:40 in)
https://vimeo.com/49218605

Seychelle Islands (around 4:22 in)
https://vimeo.com/16491335

The Galapagos footage was mostly GoPro, with some shots from a Nikon underwater point and shoot. I just ran them through Cinema Tools

The Seychelles underwater footage was 60i, I converted it with Cinema Tools and then used the TMTS filter, Blend Fields to remove the interlacing.

I like the slightly slowed down effect of the Cinema Tools converted footage. No one has ever commented that it looks slowed down.

Cheers

John

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[John Christie]

I’ve done this many times with underwater footage, converting using Cinema Tools. The slow down isn’t that noticeable with underwater footage and it helps smooth out the camera moves.

[John Christie]

I have had a Promise Raid on my iMac for over a year. I’ve never had to unplug it. Maybe 3 times I’ve had to turn it on and off to get it to connect. But I only have one TB device connected.

It sure beats the days of SCSI “voodoo” when you’d have to add and remove devices to the chain until you got it all working.

Even firewire seems to be more temperamental than TB.

[John Christie]

I always liked UK term “vision mixer”. Like “switcher” it could refer to the hardware or the person operating it.

[John Christie]

Agreed, I get it every time I restore a file from the vault and re-save it.

[John Christie]

Maybe Blackmagic will buy them. They seem to be doing well with incorporating “legacy” systems into their world. Imagine a seamless interface between Media Composer and Resolve!

Cheers

John

[John Christie]

I’ve used the Tangent iPad app for grading short projects at home on Color. We have the bigger Tangent panels at work and once you get used to the ball and wheel approach, it’s hard to use Color with a mouse.

Cheers

John

[John Christie]

In the print world, there are 72 points per inch. So converting that to millimetres there are approximately .35 mm per point. So if somebody wants a letter to be 35 mm, that would be 100 points (if my math is right)

But that only works when you are putting ink on paper. You can’t relate point size and millimetres to video as the size of the final product is directly related to the size of the playback screen. This isn’t a limitation of FCP.

Ask your marketing department for a more useful guideline, like the ratio of font size to screen height. i.e.: the headline font will be 1/20th of the screen height.

[John Christie]

I’ve just been researching this myself. It seems you can’t output closed captioning through a Kona from Avid, you need the Nitris for this. We output all our shows from FCP 7 through Kona 3s to HDcam with captioning. The lack of captioning support is a concern for us.

Cheers

John

[John Christie]

Thanks Juan

The Teranex already looks too good to be true for the price. But we’re always hoping for more, right?

Cheers

John