[Mads Nybo jørgensen]

Kristofer,

There are plenty of plug-ins that will do the job, but it really comes down to yur taste.

BorisFX Continuum has got an Art Looks unit included.

Description from their website:

Transform your footage into a classic or pop art masterpiece.

Highlighted features:

• 19 effects
• 100s of drag & drop presets
• From watercolors to comic looks
• Mocha tracking & masking
• Beat Reactor audio-driven animation
• FX Editor with custom interface
• More!

The main package is here. You can try for free, rent per month/year, buy perpetual licence, or just the unit:
https://borisfx.com/products/continuum

Hope this helps.

Atb
Mads

borisfx.com

Continuum Plugins: Tools For Content Creators | Boris FX

Looking to add polish and sizzle to your video or animation? Try Boris FX Continuum for Adobe, Avid, or OFX.

[Mads Nybo jørgensen]

Ben,

The original question was:
“I can’t seem to find an apple link. Does anyone have a link to Apple’s
guidelines when placing ‘Edited on Final Cut Pro X’ in film credits?”

And, that is what I provided.

But, as you correctly point out, on bigger jobs it is down to the lawyers to clear all parts on a production.
You are right to assert that Apple is interested in discussions about their products, and that they get mentioned as often as possible.
But there is a fine hair-line difference between stating at the bottom of a film that it was shot on a specific camera and edited on FCPX v that of suggesting that Apple / Final Cut Pro might endorse a film or product.

In Europe, we always marvel at the amount of logos and posters that are removed from non-scripted factual filmed on location in US programs v that of UK productions. But these days, instead of big blurry areas on the screen, invisible effects take care of that job.

The things is, what works in one market, might not work in another – same goes with using Registered Trademarks. And, as often happens when the lawyers arrive 1/2 hour before broadcast, you’ll need to get the scissors our, or FCPX, to make corrections 😉

Atb
Mads

[Mads Nybo jørgensen]

Hey Ben,

Final Cut Pro is a registered trademark, so if in doubt, ask.

However, as far as I can see, Apple have not registered FCP or FCPX… 😉

Atb
Mads

[Mads Nybo jørgensen]

Hey Jeremie,

Don’t worry, you are doing fine.

And as you learn on the job, you’ll be able to use that knowledge and pass it forward to future people entering your field.

Just keep on shooting.
And, there is nothing wrong in having high standards, but you have to aim for productions with high budgets to make that stick. That often means doing work as an assistant, rather than DOP.
Do keep in mind that once you enter the high-end of production, you are a part of a team that can easily involve 50, upwards to 400 people to working on even a “small” project.

Alternative is filming loads of short-films for directors in search of a show-reel.
Hopefully the director will bring you along, or film might get spotted.

What-ever you do, just keep on using that camera, and make it professional, as well as exciting.

Good Luck!

Atb
Mads

[Mads Nybo jørgensen]

Hey John,

I think that you might be looking for this link:
https://www.apple.com/legal/intellectual-property/trademark/appletmlist.html

Might be worth reaching out to their team, to ensure that you have an email that says OK from Apple (links on page).

Atb
Mads

apple.com

Legal - Trademark List - Apple

Legal - Trademark List - Apple

[Mads Nybo jørgensen]

Well done, Ludmil.

I spent the morning trying to find out why Adobe on a 2.4MB project suddenly wanted to go past my 128GB of memory…
Deleted a clip in my timeline – which seemed to fix it.

[Mads Nybo jørgensen]

Hey Jeremie,

No worries – it is good to be an aspiring DP that is still learning, hopefully you’ll never stop being curious and gaining new skills.

It is also good that you want to deliver maximum quality.

But ultimately, you have a responsibility to the Production, their client, and the overall cost of production.

As an editor, I often myself telling my producer that I can happily use 3-hours plus to fix something, that only the producer and I ever saw in the first place as a problem. Which is where we decide not to fix this “unknown” problem.

On the specific production that you mention, I don’t what you were shooting for, except it has a tight turn-around time.

Think of multi-camera shoots like what you find on multi-camera live shoots (News, Sport, entertainment). If those cameras are not matched, no matter how little time it takes to fix in post, it will add time. Also, if the editor is editing on location, they might not have the big calibrated monitor to fine-tune your highlights etc.

This does take time away from editing, soundmixing, adding branding, text elements, maybe subtitles, sfx, music, vfx, and so forth.

Then there is the ongoing discussion of where it will be consumed: At a conference on cinema size projection, or an old mobile phone?
Goes without saying, that if it on the phone, the person watching will not neccesarily care about 4K or other formats. But will prioritise and value good sound if it is an interview.

As a DOP you might never get exposed to this, but if on tight turn-around the difference can be between watching the master only once before delivery, or do it twice and pick up any spelling mistakes, jump-cuts or “rogue” keyframes. That even if it is only the editor that notices it. They will still be kicking themselves for having had to rush through the edit.

I show my age here, but I did start out on UMatic cameras and 2mc editing – back then “preview was for whimps”. And, any story that did not make broadcast, but looked beautiful, was a total waste.

In a tight turn-around, the deadline is everything. And if you throw anything other than Rec709 into that mix, without sharing the Lut info, you may find yourself at the back of the queue for getting the next refferal for a job. As it is always the freelance person who is not in the room, who is most likely to be blamed for anything that goes wrong after that – even if they are not to blame.
(And yes, you can still fix it in the grade – but takes time)

Sounds harsh, but I mean well when sharing this with you.

By all means keep asking the questions.

But better, learn your camera kit inside out. Find out what delivery format works best for you, and what Luts if not standard, that you like to share. Find a meaningful and quick way to share shooting information with Production and Editor as soon as the shoot is finished – this is a positive way for you to get ahead of issues, whilst giving the customer something with your name and direct phone-number. If through agency – ask them, they’ll love you for putting their details instead of yours on the “paper-work”.

In short, it is often everything else but your actual camera work that will make the difference on you getting the next job.

But I am assuming that you know how to press record, set lights, ensure picture is in focus, and checking back to make sure that the sound is recorded too 😉

Sorry for the ramble – I am in the middle of finishing an edit, so it is shoot from the hip here.

Nevertheless, go shoot, get published, get more experience + paid work!

Keep in mind that several Oscar winning DOP’s started out where you are at, and I know of one who won big awards on filming without studio lights, and on small prosumer cameras.

Atb
Mads

[Mads Nybo jørgensen]

Hey Jeremie,

Depending on who’s the boss, you get to dictate what format the cameras will shoot, and follow what the production/editor is expecting as deliverables.

Far too often I get footage delivered where the operator has felt the need to go OTT, except the out-put is for a quick turnaround for HD broadcast. Nothing worse than having to match multiple cameras of different origin – but then these issues are often dictated by the production budget.

When I know I’m on a tight time-line for delivery, I ask for Rec709 – this is not a popular choice for wannabe DOP’s and producer/director’s who “accidentially” have been given a camera with a lot of buttons and menu settings on it.

SORRY! I realise that this is a contentious remark, but it is based on spending many more hours in the edit than needed because of it. A result of an industry that has seen a change from trained camera operators training up the next generation, to current times where NO training is given before an “amateur” is handed a camera. Whilst the cameras at the same time have gone from all in one unit tape/card recording, to have complex settings and is delivered a LEGO kit without instructions even at entry level.

In short: What is your output, and will it make a difference to the viewer whether you use one or the other?

And the even shorter answer to your question:
Is dynamic range not affected by ISO increments in s-cinetone or other picture profiles as opposed to Slog 3 ?

The Dynamic Range in S-Cinetone at 460% is lower than that of S-Log3, according to SONY. But S-Log3 has more noise in the shadows.

At the base ISO, the S-Cinetone will let much more light to the processor, than S-Log3 will.

As said, I’m just the editor who often does camera work. There are much smarter people here who might be able to give better insights.

Atb
Mads

[Mads Nybo jørgensen]

Hey Ludmil,

Sorry, just back on my work-station, and watched your video. As a side note, I always turn off preview in Media Encoder when exporting. As I in any case have to watch the master after render.

If still not working, I would try one of follwing two:

1) Open your Productions project, then set up a new project that is NOT Productions. In the new project create an empty sequence with the same settings as your original sequence. Hightlight all clips in the original sequence, COPY, then Paste into new project and see what happens?
(Keep in mind that Adobe this last week has killed the Cloud part of Creative Cloud on many of their video based apps, there is every chance that they have made a mess of it. And, that this might be what you experienced by being able to export 7 days ago, but now it won’t budge)

2) Start exporting your time-line out in chunks, forexample Pro-Res HQ, and eventually build a new master sequence from that. This way you will also be able to narrow down where the issue might be hiding. Maybe also do a Wav file out of all audio, just to check that is not playing havoc with your export.

As a bonus question: As you are exporting 12 episodes, how are the other episodes behaving on export?

And then there is the elephant in the room, your Mac Studio, have you upgraded the OS on that in the last week?
I have a client who has just sent me advisory notes on NOT updating to the latest OS, as that gives problems when using FCPX – yep, you could not make it up, because of Apple’s apathy to FCPX, one can not trust that the next upgrade will work. This specific client is very dilligent in their tests, and sometimes us freelancers are made to wait for up to 12 months before we can update FCPX, simply because various version out of Apple does not conform to a previous version.

Hope that this helps.
Do let us know when and how you resolved the issue?

Atb
Mads

[Mads Nybo jørgensen]

Hey Ludmil,

How big is your project?

I’ve had large projects that would just freeze up.

I suggest that you trash preferences and renders – just in case.

If that doesn’t work, import each of the 12 episodes into a new project for each one. And export one at a time.

Atb

Mads