Kieran Matthew
Forum Replies Created
-
Hi Greg,
[greggm] “Also, anybody have any input with Red resizing logos? I posted a while ago with no real response. “
Only that I too have encountered this (rather frustrating) issue and I’m pretty sure it’s a bug. Perhaps if we both report it we may get somewhere.
For me, I only have to make a change to the project settings (like to add 1:2:1 deflicker for instance) and the graphic suddenly shrinks to half its width. Plus it seems very inconsistent over its handling of pixel aspects.
No real help, but at least you are not alone!
K
-
Hi Trip,
[ventureforth] “And, of course, where Avid is concerned, there is still a mystique about it that convinces people that an Avid editor is a better editor, or can produce a better result, than a FCP editor or Premiere editor or Vegas editor or M100 editor or whatever.”
Ha! Tell me about it! I only have to compare my freelance rate with my Avid using buddy to completely agree. I have always reckoned that Media 100’s biggest mistake was that it was too cheap (a problem that has also plagued Premier IMO). Apart from not being “reasuringly expensive” like Avid, it meant most companies bought their Media100’s and used them in house with staff editors rather than feeding a dry/wet hire facility system like with Avid. The lack of facilities meant a lack of freelance Media 100 editors, so when a staff editor left a media 100 using company, the lack of ready replacements meant that most of them simply binned the system and went with something else. Also many people were burnt by 844/x, but that’s another story.
[ventureforth] “many clients are very specific about what system they want you to be cutting on.”
Oh definitely, and the same is very true here too. What I meant, I guess, was that we Media100 survivors tend to find we *must* trade on our experience as editors as the profile of Media 100 is so low. It’s also the reason I also use FCP.
[ventureforth] “Have they found it a benefit or a hindrance in regards to certain types of projects over others.”
OK, to specifics. I have found finishing films, or anything that needs to look like a film a real pain on Media 100 due to the way that Media 100 does its effects in layers, rather by applying effects to each clip. The lack of industrial strength colour correction tools on the timeline mean you have to grade through Boris or another AE. Boris works on the timeline, but as a layer so you need to do some jiggery pokery to make it work consistently. This has been addressed in Version 12 though to be fair.
Doc series I’ve done have been a breeze though. As too are corporate films.
-
Hi Trip,
I use both FCP and M100HD for both corporate and broadcast work here in the UK.
I used to run a cable TV channel, and our production base was entirely media 100. Back then, (pre 2000) M100 had a strong footing in broadcast TV. Now though, from what I have seen, it has all but disappeared.
That said, I still like the system, despite its eccentricities and find, probably due to the ten years I have been using it, that it works the way I want to work. It seems to lend itself to documentaries, allowing you to easily condense and rearrange hours of footage into interesting naratives. It’s great for telling stories, and when you are telling compelling stories, do you need all the bells and whistles that other platforms major on? Perhaps, perhaps not.
But to come back to your main question, I and my company get hired for many reasons but seldom the edit platform we use. I do freelance out to some of the few companies that still use Media 100, in which case, my knowledge is a bonus. But mainly I would suggest you go with whichever platform allows you to get the job done. And for many jobs out there, that’s still Media 100 for me.
K
-
Hi Andy,
[Andy Stinton] “I have some unevenly lit green screen that I am dealing with . First any tips on how to get around this issue”
I had a similar tough time doing a simulated virtual studio sequence that had terrible lighting.
In RED you have several keyers with various options, and I found that each shot, and even each person/area within that shot needed to be treated separately rather than a “one size fits all” approach. Specifically experimenting with the setting that lets you choose HSL,Hue,RGB etc for colour matching.
I divided the screen into areas with different layers for each and used the crop settings to isolate them. Then I adjusted the settings for each to give the best results.
I also used masks painted with the vector paint tools and tracked with the motion tracker to both limit the key areas, and to “put back” clean areas that the key had disrupted.
For instance, the presenter had frizzy red hair that refused to key. She was split into several zones; her body used one set of keys, her head specifically used another colour match.
I could get her hair to key nicely at the expense of her face, and particularly the reflections in her eyes & teeth, so I painted a mask over her face and tracked it to her movements. The mask was applied to a layer of clean video resulting in a good key on the hair, but with an untouched face.
I also had trouble with things like the chairs and table legs (which were all chrome of course!) disappearing in the wide shots. For that I grabbed a still and used Photoshop to cut the legs etc out. This still was then overlayed in Boris to fix the problem.
Alternatively you can try a package like Shake or AE for the keying. I used Shake for another sequence as it managed to preserve the shadows on the floor that RED couldn’t handle.
Anyway, hope some of that helps!
K
-
Hi Guys,
I too have had problems with this deck, though the reverse of what has happened to you. For me M100 wouldn’t recognise the deck properly at all, but then suddenly (and only after the hire company had biked a replacement deck to me) it did. I could then use that deck, but not the replacement. Bizarre!
You seem to have to catch it at the right time (I’m guessing it has something to do with the polling cycle maybe?) and once the machine control setting has captured the deck successfully again you are generally OK.
The M25 deck though causes none of these problems. Perhaps Sony updated the chipset in them.
Not much of help there, but at least you are not alone!
K
-
Hi Michael,
Sorry, but I was trying to agree with you! My post was meant to reinforce that as with you, I feel that building an image and then using a third party app to burn the disc has advantages over burning in DVDSP.That’s all. I apologise if my comments didn’t come across that way.
I only use Disc Utility because it is built in to the OS and I don’t own a copy of Toast. Though the Blu-Ray features of the new version are very tempting!
K
-
Cool!
Thank you, I am honoured.
K
-
Hi Michael & Greg,
I always create a disc image through DVDSP and use Disc Utility to burn the resulting image to disc. I use this route for a variety of reasons,
Firstly it allows me to test the image before comitting to a possible coaster. Using DVD player to test the image feels more real-world than Simulator (though I use that as well) and I find it useful to see how it looks/sounds being played as if it was a disc.
Secondly it means I can burn a copy, or more usually multiple copies without having to re-build/format through DVDSP. Indeed I often burn the discs on a different machine anyway.
Thirdly there’s no chance of the master copy being a coaster due to a bad disc or a failed burn.
Perhaps these aren’t really so much advantages as a workflow that just feels right to me. Perhaps I just had one too many bad experiences back in the days of iDVD and variable quality media!
K
-
Yeah sorry, crossed post 😉
K
-
Hi Ajmetz,
[Ajmetz] “Yeah, hang on, the Media’s FACE is set to lower field. And Interpret Field Order in preferences is Lower Field. “
That’ll be the one! Hope it works out for you.
K