Ken Pugh
Forum Replies Created
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Thanks – I’ll have to save up for a Kona 3 then for the realtime upconvert. In the meantime I’ll use the Boris filter I have in FCP and AE.
Cheers,
Ken.
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Thanks for the info. I’ve been so used to scaling 4:3 video up by 133 in SD timelines I thought maybe the same was happening – but now I look closer, I see the crucial difference is that 4:3 footage in a 16:9 project is distorted by MINUS 33.33 (to keep the correct aspect ratio). This does not shrink the footage (nor does it scale it), it only affects the picture horizontally. Whereas HDV, being anamorphic, needs to be distorted by PLUS 33.33 – which does scale the footage, which is why the additional step of also scaling up by 133 has to be introduced, to return the picture to its correct size.
I’m not going to think about this any more – I guess the FCP programmes had good reason to implement aspect ratio control in this way….
Cheers,
Ken.
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Yes I am running versions 6.5 of both. The problem is only with CS4, CS3 works fine. It may be another combination of driver/Adobe utilities will be OK – the 7 drivers/utilities for snow leopard for example. These are supposed to be backwards compatible I believe – I did try these but found I was getting slow system response under FCP so went back to 6.5
Best,
Ken.
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Ah Ha – just found the solution over on the AE forum – for anyone needing to know – the AJA drivers don’t work for AE CS4 – so uninstall all CS4 drivers – then re-install without the AE driver. This way you maintain Photoshop and Premier functionality. AE still works through the AJA card but not in edit mode, only in preview.
Ken.
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Yes it’s time I got to grips with it…..
OK this current project – I’ll give it a go – see you in the color forum in a few weeks time!
Best,
Ken.
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I only checked for volumetrix – and that is still at version 2, as before. Will check the others. But it seemed to me maybe FCP7 is handling certain filters in a new way? Light Rays, which I use a lot to brighten footage when it’s very underexposed (does a cleaner less noisy job than many other dedicated filters in my opinion) – I had to find a completely different set of parameters to get the brightening effect without getting the rays – and it still doesn’t seem to do it quite as well as before.
But then, I haven’t done a clean instal yet, as Walter pointed out, and I’m still on Leopard. I may have to wait anyhow as I’ve read snow leopard is not compatible with my SATA card.
Cheers,
Ken.
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I was waiting to do a clean instal onto a new drive with snow leopard…. so no, not yet. Just couldn’t wait for the FCP7 slow-mo feature I’m afraid!
I’ll do this next week and report back If there are still problems,
Cheers,
Ken.
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I’m a bit lost – so is a .flv movie actually mpeg4 then?
Ken.
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Sorry Dave – I meant CS3, as the new AE is called, not AE3!!
As I remember (I’ve deleted the programme now, curses) In AE7 to adjust speed you could just move a keyframe and you’d get a readout of the speed (in fact you could open the speed graph next to the position info to see this) – this way I could get lovely clean rollers by having speed as a multiple of 25. This is not possible in CS3 as there is no longer a speed readout. Instead you have to toggle to the graph menu – here every time I move a keyframe (no longer simple) I get bezier handles popping up all over the place – and there’s no sped readout. Just the horizontal lines at 50 100 150 etc. You can get the speed after moving the keyframe by placing the mouse over the keyframe after moving – but this makes it real trial and error when you want to get an exact number.
Supposing I wanted a linear sped of 85 between two keyframes – how can this be done without a speed readout (as in AE7). Get my drift… I’ll check out your thread and see if it applies to CS3.
Thanks, all the best,
Ken.
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But wont the rendering still take just as long – as the HDV has to be converted to prores every time a change takes place, even with multiple changes to the same clip. How about edit in HDV (cuts only) then convert the clips with media manager to prores with say 2 second handles, then do all the post effects, CC etc. This way you save space and disc overheads at the cuts/assembly stage but work totally in prores – at high quality and with quick renders – for the grading, effects stage.
Make sense?
Cheers,
Ken.