Larry Asbell
Forum Replies Created
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Hey Jef –
Can say whether it will help but there is a 10.4.8 Kona Driver available.
– Larry
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If making two recordings (without roll-back and punch in) is what you want, then run TC out from the controlled deck to the 2nd deck. Set the 2nd deck to take external TC, route V and A to the deck, and crash it into record manually.
However it sounds you are wanting to do short punch-ins, for example to redo a super? Sorry, there is no way to control two VTRs from a single controller. RS-422 machine control is 2-way communication. During edit preroll, the controller is reading tape TC and triggering start of record accordingly. Forget about doing this with a “splitter.”
Linear tape editing systems, i.e. CMX, Grass Vally, Axial, etc., had dual record capability but I don’t believe that ability has been included into a product for 10 years or more. I suppose you could resurrect one of these systems and put it to controlling this process. However your non-linear editor would have to be controllable as an edit system source machine. I don’t think FCP was ever made to do this, though Avid has that feature.
Sorry but you may have to settle for inserting one VTR at a time.
– Larry Asbell
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Chris wrote:
fyi I usually resize any graphics down to 4000 pixels maximum before importing them. With 5000 size you can run into odd issues. 4000 is plenty.Certainly is true in FCP7. Premiere CC seems a whole lot more tolerant of large stills. I was just reading it’s specs on that and IIRC it’s limitation is something like 25,000 pixels! However I do agree — you generally don’t need it anything over 2000-4000.
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Thanks for the suggestion James. Yes, in my search I came across that and I tried both adding the name and deleting (hiding) the file. Yet after rebooting PPro, performance was no better.
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In my case it seems that SG wanted to be opened once on it’s own.
I updated CC and opened an existing project in PPro. Did direct link to Speed Grade and it locked on SG spash screen. Forced quit and opened SG. Dickered around a bit and closed it. Reopened PPro project and once again did Direct Link to SG and it worked. Did a few iterations of correction and Link back and it continued to work.
Mac Pro 4,1 2 x Quad 2.93 GHz, 24 Gigs RAM, 10.8.3
GPU is ATI Radeon 6870, 1 Gig VRAM, flashed for Mac boot. Mercury Playback on HW works. -
In the past it seems they rolled out the availability throughout the day. So I don’t expect to see “up to date” turn into “update available” until who knows when. Anyone downloading yet?
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It’s a complex subject but to me the essence of the choice is:
Footage shot at 23.98 converts to 29.97 (using 3:2 pulldown which spreads 24 frames over 30) in a way that preserves the 24 fps “look” very well. Going the other way around (converting 29.97 footage to 23.98) results in a cruder, un-smooth motion that is neither like the 29.97 original nor like the look of footage shot at 23.98. It’s because going from 30 to 24 means throwing away 6 frames every second or every fifth frame. Optical flow, aka fluid motion technology can apply complex processing to average the motion within the remaining frames to smooth the look. But it’s an extra step, time consuming and not always successful.
Also I prefer to avoid the strobing of motion graphics that I see at the lower frame rate.
So faced with anything near a even mix of 23.98 and 29.97, I’d go with a 29.97 sequence.
– Larry Asbell
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Meant to say 20 years, but even that is high, maybe 15.
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[Walter Soyka] “[Larry Asbell] “If you did that you would probably have to output your video as composite and send it through the CG because it likely only works as self-keyer. But the smearing you get by going composite will help achieve your look. Recording it thru a couple of generations of 3/4″ is a must too. ”
No TBC? No worries! Subtle drifts in line timing only enhance the experience.”
Right you are! TBC needed. I was thinking of a CG I used that was white text only and could self-key on a non-TBC’d signal. But subsequent models with colored text like Phil’s example would need a TBC’d input.
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No, the CG that made Phil’s sample preceded DV codecs by about 30 years! That character generator would not have had a single bit of digital circuity in the video signal path. Think ASCII-only “green screen” displays. Like the analog chips that drove those displays, CGs of that era had no graphics, only one non-proportionally spaced “font” in only one size. The innovative thing was that it had a black surround shadow, but even that was created by analog delay circuitry.