Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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3000 would be close to 3200K which is tungsten balance, so it would be better if you were shooting with that stock. I have to wonder if it would be good as a “projector” white point for film…
JPO
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Ha.
You should’ve been here last fall when 2.6/2.7 hit the fan.
No one would’ve confused Walter with the word “advocate”… 😉
Anyway. Enough of us are getting used to dancing through the mine field, that its almost starting to look graceful. Personally I don’t give a rats’ tuchas about the look of the interface. Soviet boiler plate would be fine as long as it works.
What’s next W? Project Settings, User preferences…. or as I like to call it “How to screw up your project in one easy step”…
JPO
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Shake has a de-flicker node, but I’ve never used it — I think its mostly for evening-out time-lapse.
JPO
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Ha, ha, ha….
Export it to “Color”… change the project settings (to what you think it should be), render, sent back to FCP, and voila… it will be “wrong”….. 😉
JPO
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Because AC3 is not an audio file, per se, and not editable, I don’t believe that it is eligible for importation into Final Cut. That’s difficulty #1. How to play it out? How to sync it up with picture on a videotape?
I understand the part about no touchy the gains… leave everything in the detent positions! or pay the price.
Maybe the thing will have to arrive on a DA88 and chase lock it.
JPO
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A “line” is a pixel pair… One “on”, one “off”… and its a “horizontal” resolution in its main implementation and meaning. Vertical resolution, at least in TV land, is based on the media format itself… ie 720×480, where you get 480 “rows” of information composed of 720 columns (discounting the pixel aspect ratio, but you get the idea?).
There is a fudge indice — called the “Kell Factor” that is an interesting thing to waste some time with. And if you really want to stir the pot, lets get involved with Nyquist.
And, as far as the “double standard” of hardware platform for Color goes….
There is the low end, which will apparently allow the app to start… and then there’s the high end, where it will actually run, and if you find the magic combination of processors, GPU’s, Bus/Disk speed, and a few other things… the holy grail is “real-time” playback! Quoting the Rutles: “All you need is cash…” A whopping bag of it.JPO
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I don’t believe HDV rendering is supported in COLOR, at least according to the Apple description pages. Has something to do with the mpg nature of the codec…
Also, HDV is native 1440×1080, so its just the anamorphic nature of the format that is being returned. You could probably fix that in the FCP sequence.
One thing to do when sending non-square material to COLOR (for sure in the former Final Touch) is to check the Geometry room… you’ll see why, if you do it. If you have a project setting mismatch, it will show up there.
JPO
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Most broadcasters have a “Deliverables” document that should be identified as perhaps “Technical Specifications for XXX-Definiton Program Acceptance”. You could peruse a few on-line — just search them out, or ask the local station.
For the most part, for Standard Def, broadcasters will be looking for D-Beta, or its equivalent on disk — usually 720×486 10 bit 4:2:2. Audio at -20.
High Def is another can of worms. National broadcasters are more and more looking for HDCamSR 1920×1080 29.97 inerlaced. But that varies depending on the network.You may be able to deliver your spots on DVD, but not as Mpg2. If you can work out the details with your producer, you might get away with a native codec like DVCpro…or ProHD…
The fatter the format, the more likely it will be acceptable, as long as the broadcaster can handle it.
JPO
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Been down that road… the Photoshop path seems bizzarly complicated, and how did it get to be “transparent” anyway without an alpha channel being resident?
In any event, a one-stop trip to Shake makes it “happen” automatically with no waiting or fiddling around, and it preserves layers, etc., so I’m sticking with it.JPO
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Similar problem for me, that exporting a tif gets me the same “white” background because the alpha channel doesn’t come along for some reason. I don’t seem to be able to turn it on in the Photoshop export dialogue…
My workaround is to import the Photoshop project into Shake, and export a tif from there… I get the alpha channel, and its even properly identified as “black” in FCP!
So… WTF is going on with export from Photoshop that FCP doesn’t ‘get it’?
JPO