John Heagy
Forum Replies Created
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Any hope the Linux verison will be able to write ProRes in the near future? I’d assume Apple would be more open to a Linux port of the ProRes codec than Windows.
John Heagy
NFL Films -
[Jay Mahavier] “when you convert the QTs to DPX files with QTtoDPX you get the extra frames”
I’ve only seen the extra frames in media captured from tape. What’s happening is FCP may grab an extra frame or two at the head and tail. These extra frames are in the media track but trimmed out in the QT container. QTtoDPX is apparently respecting the raw media track and not the corrected QT container.
The same thing can happen when playing FCP tape captured clips in the KiPro. The KiPro should respect respect the QT container track, not the media or “essence” track… it doesn’t.
John Heagy
NFL Films -
[Robert Monaghan] “people will want “Log” on a ProRes file”
10bit log? No need with ProRes 4×4’s 12bit depth. You get the same latitude as 10bit log without a curve… pure linear goodness!
No 12lbs in a 10lb bag.
No denying the Debayer and exposure mapping flexibility though.
John Heagy
NFL Films -
If you’re capturing HD via a Kona card you can see the running embedded TC via the AJA ControlPanel with the “Timecode” tab selected. Be sure to position the Aja ControlPanel so it’s unobstructed when FCP is capturing.
This may be doable with a Blackmagic card as well.
John Heagy
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Yes I agree, this is Video 101. Shane was clearly frustrated, and I feel his pain.
Shane is owed a big thanks for taking considerable time to explain this basic concept.
John Heagy
NFL Films -
Just to be clear…
I’m certainly not advocating 240 or 120 as an acquisition framerate. Just using it as an example of how marketing can drive technology and public perception.
For the record… I am all for moving away from 24p, when applicable, and resisting the “knee jerk” 24p default that seems so prevalent.
While were on the prediction kick…. The worldwide benefits of 24p will also be reduced by the proliferation of online viewership. Eventually even set top boxes will simply download only the shows one wants, eliminating the need for broadcast standards.
I also predict the Sun will die in 4.8 bilion years
John Heagy
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[Dave Holzman] “Use Re:Visions Field kit to Deinterlace to 60p, then use Twixtor to go from 60p to 24p, and edit from there in the 24p timeline. Is this right?”
Yes that’s correct. You could use AE to do the 60p to 24p, just be sure the frame blending setting is set to fine. That will enable Optical Flow. If you want the “cheap” video look to include a bit of aliasing you could skip the FieldsKit step and use AE for everything.
Another option would be to use a 24p capable consumer HD camcorder. Just over expose it… downconvert to SD… then upconvert to HD. Oh and up the shutter speed so you minimize motion blur.
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[Tom Brooks] “Frame rate is really a pretty subtle thing compared to blatantly VISUAL cues.”
Yes! I agree with that statement! Unfortunately 24p and “cinema quality” are so engrained it’s like people are brainwashed. Do people really think 24p is what makes the cinema experience? It’s wouldn’t be that any Hollywood movie has top directors, DPs, scripts, actors, locations, marketing, etc… In short $$$$$
My prediction: When digital projection takes over and movies don’t have to be displayed at 24p… directors and studios will shoot higher frame rates and marketing will bill it the same way flat panel manufacturers are 120 & 240hz today.
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[adam taylor] “sorry – depth of field is not key to making something look like stopframe although in the right place it could help sell an effect.”
No need to apologize… you kind of make my point. Again, without seeing the example, I made an assumption. He wants standard video to look like stop motion. One could say he wants to “sell” video as SM. Since SM is mainly done with models, using shallow DOF will make objects in the video look like models. When doing an all SM show I would assume the goal is to make it look less like SM, and as “real” as possible, minimizing the SM look the production techniques cause. Here he wants to maximize them.
Here’s an example of the “Miniaturization” or “Tilt Shift” effect we did in post. It’s done via Time Lapse so the frame rate is extreme, as is the DOF effect. This may not be what he’s looking for, but it’s interesting how the DOF tricks the brain.
https://www.nflfilmstv.com/NewMedia/Postings/NYC-TL-Toy-16×9.mp4
The link to the Tilt Shift site link didn’t work for me. If others had problems… try this one.
https://www.smashingmagazine.com/2008/11/16/beautiful-examples-of-tilt-shift-photography/John Heagy
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The FieldsKit step does nothing to enhance motion – but it does excel in deinterlacing – so you will get a better progressive image for Twixtor to work on.