[Jonas Espinoza]

just got the rented panasonic 1200 deck back to the rental house, literally hours after getting it. everything went just as planned. there is always worry that the marketing hyperbole is just that and up and leaves a bunch of asterisks when it comes to real work being done.

great deck. now if there can be a definitive solution to this BMD luma shift issue. thats been bugging the hell out of me on 10 bit SD projects.

[Jonas Espinoza]

i read the link. good stuff. should get the book. the main reason for AE is color correction, some motion graphs, and generally its 16bit depth for any manipulation. im not big on using FCP for much more than as a cutting station when it comes to more filmic stuff.

so tony said that 29.97 sequence setting and all the way through would work? is the idea that a 23.98 clip dropped into a 29.97 sequence will have the extra frames added back in, or will it just play a little faster.

24Padv for 60i – – thing is we have a number of freelance shooters for the producer that hires me out, and these days the dvx is responsible for a lot that. it was an effort just to get the word out to shooters to mark on the tape what settings were used. now that i know, i will stick with them using reg 24P on future stuff.

appreciate all the minds on this one. I am on a decklink card. would playback of a 23.98 sequence through decklink or firewire play out ok to these 60i destinations?

happy sunday to everyone.

[Jonas Espinoza]

there will definitely be color correction involved.

let me get this straight

my current workflow is 24PA shoot tapes, captured with 3223 pulldown removal.

edit in 23.98 sequences in FCP (right?)

? – export my reference movie for AE as 23.98 or 29.97 from FCP.
so far a 23.98 movie, played in a 29.97 comp in AE, and rendered out as a 29.97 movie has played back out in a 29.97 sequence in AE.

back in AE make the final timeline and audio checks with the AE rendered 29.97 movie in 29.97, play out to digibeta which adds the pulldown?

i just need to know the best way to do set up the sequences and comps and outputs.
is there a way within cinema tools to convert. from the sound of it, this is less than ideal with these shoot tapes being 24p adv. since i had no control over that, but i need to get this worked out, any suggestions would be great…

jb

[Jonas Espinoza]

thanks for the reply

what if 24p adv is already shot, and its for eventual 60i broadcast. i have rendered out of a 23.98 sequence a 23.98 10 bit movie, ran it through AE and outputted a 29.97 movie that plays without any motion issues in a fcp 29.97 sequence in fcp.

im curious if there is a better way. or any kind of standard to making this work as well as possible. the 24pA is great and everything, but you cant be serious that plain 24p is way better for returning to 60i than 3223 advanced.

any specific workflow suggestiins, in terms of sequence settings for edit in fcp, export to AE, comp setting in AE and render settings in AE would be good to know in case there is anyone out there doing this for tv delivery.

[Jonas Espinoza]

any good links to getting more out of these things. i have a wacom at work but wish i could understand how to interface it better as a tool.

for example, i still am not able to get drastic enough variation between thick and thin with pressure. is there a dynamicv range cpontrol or something like that?

another thing that is tricky for me is when im drawing lines, i will draw one, but then if i draw one near the last line, the last one dissapears and i now have a new one, do i need to create new layers for every line.. i think not, but right now i cant bunch up my lines like ‘real’ drawing.

and i wish there was a good list of shortcuts to use with this. i have the brackets and a couple of other ones going, but i know there is so much more to be had with this tool. any tips/tutorials forthcoming would be awesome! i know the handdrawn thing is sort of getting saturated but personally i like the authentic handdrawn scripty looking stuff, but the tablet doesnt allow for that automatically, there is definitely a learning curve…

luckily i’m an editor, and i know my way around those shortcuts well enough…

[Jonas Espinoza]

i forgot to mention i keep getting the above error message in my downloads window of safari. when reading up on some other non system disk ram tests, i encountered the term POSIX there also. i’m wondering if thats any clue that i have jacked up ram.. luckily i got them at owc and they supposedly have a lifetime warranty…

[Jonas Espinoza]

what does this system dvd say on it? I have the grey 10.3.7 withat came with this dual 2.0 but im thinking that maybe there is another misplaced grey dvd… ,y work has a few G5’s also, so maybe if i knew what was inscribed on it i could ask around… thanks for the tips though, you know how it is when things get slow and unresponsive.

[Jonas Espinoza]

i tried all my os x dvd that i have, will it be a grey dvd that says hardware test? that i think i only have from my Tibook days. the partitions came up, my boot drives, and the cd as a boot drive but no hardware test…..

[Jonas Espinoza]

are my disks full?

my boot is 80gb with 11gb free
my secondary drive has 250 gb 142 free.

I will test the ram, will an upgrade to tiger DVD work, or should i use one of the factory 10.3 disks.

thanks

[Jonas Espinoza]

thats the plan for the output. my issue is this system will handle 10bit SD and DVCPRO HD, on a firmtek 2 drive SATA raided enclosure, getting around 125mb sec MAX. from what I gather from sites like barefeats.com, HDCAM has some hardcore data rate issues requiring a huge raid. doing the file transfer method is looking good for finishing SDI out to an HDCAM and digibeta master at a facility. the rate for this is 250 an hour here in seattle, but that works for outputting commercials.