Lexerton
Forum Replies Created
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Hi Keith
What did you put into the timeline? A Cinewave legacy clip? or a newly captured BM codec clip?
Give us some more details about what you are capturing.
Also – I trust you have double checked your sequence settings match your clip settings?
Alex
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NIce one Peter…
Wanna see my picture on the cover
Wanna buy five copies for my mother
Wanna see my smilin’ face
On the cover of broadcast magazinenot quite the same ring.
You reckon they’ll have their own onlines?
It strikes me that the main reason people put down FCP is that they try to put it in an Avid workflow (ie onlining on symphony etc) and it doesn’t work very well…”FCP is rubbish” is the cry.
Lets hope that the BEEB take the onlining seriously (which means using online editors not just bumping FCP operators to Online editor status) I reckon this is going to be the critical area.
Congratulations on your cover shot
Out of interest do you know what hardware they are using for the onlines?
Ta Ta
Lex
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and a juicy support contract.
and online opportunities
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Is the referencing alright?
FWIW I always insert the whole shot because I’ve never trusted insert edits in the middle of a shot.
Probably no help,
Lex
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Ho Hum
Have you done tried looking at it in the viewer and tooling with the brightness / contrast just so you know it’s there?
I suspect that the noted gamma wibbliness in and out of FCP might be smudging the issue with Plotyslop.
Also it is always, rpt, always the video monitor that should be the reference, not the computer monitor.
The colour meter app on my system registers 0,0,0 RGB for all three pluge bars on the comp monitor but on my video monitor they are there.
Try shutting your curtains, that may help, just remember to open them again.
Shabba Do
Lex
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ha ha
just load up the bars from the viewer in FCP.
bars should always be generated by the source. I see no reason not use the FCP bars.
Hubba Hubba
Lexerton
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Good point.
Budget, budget, budget. Here in the UK a vast amount of broadcast is being shot with DSR500/570 cameras.
This show is 13 parts, shooting over a year with 80 rolls already done capturing 10bit off the bat is impractical.
I, too have a 4 drive sata raid but with the sonnet tempo 4+4 which I’m very happy with.
I suppose I’ll just have to test the SDI footage next to the DV with the 4:2:0 smoother.
Believe me I would have loved to shoot this on Digibeta but there just isn’t the money.
ta
Lex
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I’m supposing that this is what it boils down to –
the tech theory which is that there is no theoretical advantage to SDI reconform as per the big N’s theory (I have the PAL version of his chroma smoother and really rate his products)
the subjective test which is a visual perceptive difference.
the main thing is that I’ll have to test the different outputs on a grade 1 monitor and through an SDI scope with my facilities head.
I’d love to prove him wrong but only cause I’d rather not do a conform.
Don’t suppose anyone would dare point me in the direction of a proven on-lining method that by passes the media manager?
Ta
Lex
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Thanks Paul
I was hoping you wouldn’t say that! I’d love to save the time by not reconforming. Is the media manager really that bad? https://www.kenstone.net/fcp_homepage/basic_onlining_jordan.html suggests that whilst inelegant it does actually work.
I still don’t quite understand why SDI reconform would be better than using the original firewire footage – after all its just cloning the DVCam, right?
If I uprez it to 10bit for effects and colour correction all the processing will be done in 10bit space but surely you can’t make DVCam footage better either way? Or is there a perceptible difference?
Ta
Lex
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Probably best to ignore the meters in FCP, and rely on your ppms.
Each new sequence I create I add bars and tone to the top and adjust the level of the clip till my meters reach 4ppm (standard in the UK). I then trust my PPMs for levels.
The good news is that FCP meters show lower levels than external meters so there is no chance of clipping in FCP because your ppms would be off the scale.
Lex