Replies – Forums – Lara Johnston

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Lara Johnston
January 24, 2011 at 4:43 pm in reply to: Distort- Aspect Ratio Math

I think I grasp that concept, but what I can’t seem to get is why the numbers -12.5, -33 and -50 work in the distort tab of FCP pro.

For example if I cut a DVCPRO HD 720p60 (960×720) clip into an NTSC timeline the aspect ratio requires a distortion of -50 to appear correct (scale at .75 or 75%). How does -50 get derived from the above numbers? Am I missing something?
Thanks,
Lara Johnston
Lara Johnston
April 10, 2008 at 1:29 am in reply to: Jerky playback on Cinema HD monitor only

No, I’m just talking about the canvas and the viewer. The playback looks like frames are being skipped or something. Everything is rendered, there is no warning of dropped frames. My simultaneous output (through the Kona card) to the ntsc monitor looks smooth.

I didn’t think to try playing any clips in the qt player, that is a good idea, I’ll try it tommorrow.

Thanks
Lara Johnston
Lara Johnston
April 9, 2008 at 4:29 pm in reply to: Jerky playback on Cinema HD monitor only

I did basic stuff checked cables, trashed preferences, repaired permissions, but will try the other stuff you suggested.

Thanks,
Lara Johnston
Lara Johnston
March 10, 2008 at 2:32 pm in reply to: Insert editing greyed out

Hi: sorry for the delay in responding, I just gave up on trying to insert edit. The manual I have for the deck says it’s a HVR-M25U/M25N/N25E/M25P, but I can’ t find a model number on the deck itself. It just says it’s an HDV deck (Sony). I can’t seem to find any specific model #.

It definitely doesn’t have an RS422 input on it.

Thanks,
Lara Johnston
Lara Johnston
November 14, 2006 at 5:26 pm in reply to: 3 perf film finish, no telecine logs

Thanks so much! There is a moving bar in the burn-in. I noticed it had 3 positions, but had no idea how that corresponded to the perf. I don’t quite follow your note about looking for the 21,21 and 22 Key Code rollover to indicate what perf-cycle I’m in though….although I may not need to, since I have the moving bar in the burn-in? I used to have a better handle on 3-perf but I’m a little rusty. The last DI I did using 3-perf just used our original flex files in conjunction with their own software, and I would just give them edl’s.

Anyway, that information has saved the day. I will run the test you suggested.
Thanks,
Lara Johnston
Lara Johnston
November 14, 2006 at 4:59 pm in reply to: 3-perf film finish in FCP 5.0

Yup. I guess hand-entering the key # from the burn-in is my only option. I’m just not sure how the extra perf designation will factor in….how close I will get to the right frame with my cut lists, orwhether I can figure the right perf out by trial-and-error, or if we will just have to do a lot of eye-matching in the DI suite. Any idea?

I sent specs to the telecine house, including what info I needed in the logs, and the tapes came back without flex files. The transfer was a favor for the DP so he could work with his colorist. So as usual, post gets shafted….we’ll see what he says when he doesn’t have anytime to time the movie because we have to spend so much time conforming to get the right frame.
Lara Johnston
November 12, 2006 at 7:32 pm in reply to: 3-perf film finish in FCP 5.0

Hi Steve: Thanks for the post, that is a workflow that makes sense to me. However, I read in the Cinema Tools manual that it doesn’t support 3-perf. I also know from working on Avid Film Composer that 3-perf is a bit of a different beast. Key Code #’s also include perf information that I would always receive as a separate column of information in my flex file. I have to do a bit more research to see how close typing in my key# burnin will get me. Since we’re doing a DI, some eye-matching will be possible, although since it’s low-budget, I’m sure no one will want to spend time doing this.

I also didn’t realize there was a separate forum for cinema tools, I will do some research over there….

Lara Johnston