Lars Wikstrom
Forum Replies Created
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YEs, this I know. My footage will always be 8bit. But as I added a filter, did some color adjustments I saw banding in the sky. By dropping this into a 10 bit uncompressed sequence and doign a re render it solved the banding problem I was seeing.I went from HD to SD uncomressed 10 bit. I am guessing the results would be some what the same for 10 bit Pro res codec. I’ll have to try it.
Thanks,
-Lars
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I don’t know if you can JAM sync these cameras, that is a good question. When I shot some small segments for a cooking show I rolled all 3 cameras and then stood in front of them and use a Flash from a digital camera. that flash is 1/60 of a second and worked great to sync up the cameras later. Shooting P2 that might not be that good. All cameras must roll all the time with out stopping for that to work.
-Lars
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I have not played with the ProRes codec much. It sounds like you guys recommend that format for finishing?
-Lars
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I learned the hard way a couple of years ago when I did an update during a project. Now I don’t update for months and let everyone else experiment with updates to see if they are safe. As a rule of thumb never update until you are sure it is safe. there will always be someone who will update right away who has the problems, don’t let it be you 🙂
-Lars
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I believe the RED camera will be shooting a true square pixel at all resolutions.
But as Shane explained it is for the most part anamorphic.
-Lars
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I agree it is odd. I thought it might have something to do with the steady shot since it was hand held. I don’t recall making any adjustments to the shutter.
It is odd.
-Lars
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That is pretty much how I got the footage in to work with it in FCP 5.1. Version 6 is different and you know have to hit COMMAND + Shift + 8 to bring up that same window.
The problems that I had were not the same as yours. FCP was not treating the footage the way it was supposed to. FCP was thinking that my 23.98 footage had TC that was 29.97. It may have been a problem that I was causing and I am still runnign some tests to find out.
Thanks for the video link!
-Lars
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For me so far I would have to say it is hard to see a big difference. The 1080 24pa footage looks nice. I can’t see any interlace artifacts happening. I shot some very thin wires as one of my tests to see if there was an problem capturing to an interlaced stream. But both 720 and 1080 look nice.It’s almost very hard to tell them apart.
The only thing that sucks is FCP isn’t treating the 24pa correctly. I’m dropping it into After Effects and exporting out Apple Pro Res 422 and editing in a true 1920 x 1080. This is converting the clips to a 24p. The clips seem to already be 23.98 after FCP finishes with them but there is something odd in the time line and it is forcing me to render it anyway.
-Lars
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I have had no problem in 720 24p mode. After reading some posts by Berry he says that the 1080 format is less compressed. so I was trying this format to test when I came into this problem.
I ended up exporting to After Effects and transcoding to Pro Res at full res and working that way for my test shots. This seemed to work out for small things.
-Lars
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You know, I select the default that is 1080i 24p from FCP. Since I am shooting 1080i 24pa I would assume that I would edit this in the 24p time line. I think it is all 23.98 since my understanding of 1080i that it is a drop frame format where 720 is a non drop.
What I get lost in is that under the format option when I see what the footage is it says 23.98 but DVCPRO 1080p30. It plays as if it is a 30 since the TC goes to 29 and then to 0 again.
Something is not right with FCP I think.
-Lars