Marc Wielage
Forum Replies Created
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The AdmitOne people have the only one I’ve seen:
https://admitone.sterrettinc.com/public/DaVinciKeyboard.pdf
I admit, I’m surprised there isn’t a few pages in the manual devoted to this.
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Oh, there’s all kinds of old crap up on eBay: proc amps, image enhancers, noise reducers, telecines, color correctors, you name it. I don’t know what’s sadder… the fact that this stuff is going for only a fraction of what it sold for in the 1990s, or how some morons believe it’s still worth many thousands of dollars today. There’s people trying to sell 9-year-old hardware Resolves for $50,000. :-0
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[Jef Huey] “Any idea if Technicolor NY still has that Spirit S8 gate? And any ideas as to who I might contact there to see if it would be rented?”
No, I think it was only available for internal use for Technicolor divisions. My memory is that the gate had a value of something like $150,000 — at least, I think that was its insured cost some years back. Not cheap.I sincerely think you’re better off just paying to have it done by another company. You could contact DFT and ask if there’s somebody who will rent a Super 8 Spirit gate, but I dunno… they may not have an answer.
Digital Film Technology LLC
3211 Cahuenga Blvd West – Suite 103
Los Angeles, CA 90068
(877) 363-8367
https://www.dft-film.com/ -
It depends. From what I see, a lot of the $50,000 HD processors that came out 10 years ago are now $49.95 on eBay. The exception would be HDCam-SR decks, which still have a value since they’re still needed for deliverables by some clients. We’re not completely file-based yet.
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How are the reel numbers handled? I see a lot of problems like this when using toy cameras like the 5D, mainly because they’re not timecode capable cameras. When and if these cameras fully support timecode, I’ll shut up. But otherwise, this is one of those things you just have to chase.
My workaround is to have the editor export a single flattened ProRes file, then I notch it all with auto scene detect. That will roundtrip just fine.
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They’re still toy cameras. I’ll grade the footage, but only under protest.
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[Mel Matsuoka] “Well in all fairness, the reason why I was less than diligent in forcing my own saves is because of the interminably slow save times when you’re working in a large project.”
The answer to that is: don’t do large projects. Break it down into reels. I avoid anything longer than 30 minutes when I can, unless it’s a 1-hour episodic (which is typically about 43 minutes of material. Ideally, 20-22 minutes is more workable, and this also fits in the tradition of film editing.Another advantage of cutting the show down into reels is if there’s any changes, you don’t have to worry about working out changes through a massive timeline — just a 20- or 30-minute timeline. This is also helpful to people in other rooms working on editing and sound mixing.
Once the individual timelines (reels) are locked, then you can either export them and tie them together via a roundtrip, or create one big final timeline just for the output render.
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Pages 325-334 in the manual. ColorTrace has saved my life a couple of times (or at least it seemed that way).
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You know, there used to be a program out there that would just wiggle the mouse (in software) to prevent the screen-saver from engaging and prevent the computer from going to sleep. That was quite some years ago, but I bet there’s a similar issue going on. Maybe it’s something related to the various buses getting tied up.
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“Newly released” I might believe, but the last 7D project I saw in December was crappy. I’ll say this: it looks better in many ways than a $50,000 Ikegami standard-def camera did in 1995.