Matthew Sonnenfeld
Forum Replies Created
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A day late on this so my apologies for not being able to help with the issue in time but for future reference, there is no way that I know of to turn that camera into a webcam for GoToMeeting. At the very least, this would require a video capture card with HDMI to take the camera feed into the computer. These cards though don’t actually interface with the drivers that run the webcams so you can’t really turn it into one.
Matrox has some streaming hardware that does something similar to what you want, but it is designed to work with specialized software that is primarily for television broadcast and web streaming. Even the Matrox hardware won’t allow the camera to interface with the webcam drivers needed for GoToMeeting or any other webcam based application such as Skype or iChat.
Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
There will be no enlarging at all. 2.5K is larger than 1080p. You downscale 2.5K to be 1080p. By placing 2.5k in a 1080p timeline/project the software will automatically scales the footage correctly, or you can resize it to fit, but that would be making it smaller, not larger by any circumstance.
To stabilize the footage and have the best 1080p results, do your color grade in DaVinci resolve, then export full 2.5K ProRes files and bring those into a After Effects 1080p project. Use the Warp Stabilizer on the footage and AE will use the extra resolution to best stabilize the footage by pan/scan outside the 1080 frame.
You could also use the built in stabilizer in Resolve though the Warp Stabilizer is very easy to use if unfamiliar with the DaVinci’s toolset.
Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
Honestly you need a monitor with a waveform. Smartscope Duo won’t really help you unless you have a rack setup which will probably get cumbersome. The BMD monitors are ideally suited to studio and OB van situations. Personally I would look to the TVLogic 5.4″ monitors. There are a few Marshals that are good but I am a big fan of the TVLogic. Been on the pre-order for the SmallHD DP7 for a while now but it sounds like you need it sooner than that.
Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
Well Marco I will be seeing you at the NY show!
Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
Unfortunately there is none that I know of. If you can’t reload from the original cards, I’m afraid you have what you have. I’m inclined to think that it was a write or a transfer error only because of how the other files are working fine.
I’m sorry that this has happened to you. It is a difficult thing to deal with and I learned my lesson on RED footage a while back. Shotput Pro is $99 and that sounds like a tough pill to swallow but it will save you from this happening in the future.
Unfortunately this isn’t a folder structure issue or anything that you can see just by checking to make sure everything is there after you drag and drop. As you can see, if you just look inside the folder you will see a folder for every shot but that doesn’t mean that all of metadata was written properly. Shotput Pro performs constant write checks as it imports, and verifies that everything was brought in properly. I’ve had many occasions where Shotput Pro has caught failures that I would not have ever noticed just by checking folder structure.
Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
Looks to me to be a recording issue. Looking at your screen grab I see that these clips have no associated time code, start, end, frames, or resolution. These files it looks to me are somehow corrupted.
Is there any possibility that there was an issue during your file transfer? Did you drag and drop or did you use a software such as Shotput Pro to transfer your files?
Are these clips still on your SSD? Can you try the transfer again?
Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
There doesn’t seem to be any indication that BM will be adding standard ProRes. I believe that they feel HQ to be the best balance of the various ProRes flavors of quality and compression and don’t want to compromise that any more than they have.
As per audio meters, this is perhaps the most commonly requested (demanded?) feature for future firmware updates. Can’t speculate as to what has been making it so difficult to implement, but they are very much aware of this.
Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
Given the crop I’m not exactly sure now wide you could go as I have not tested it myself, but I’m reasonably confident that you won’t run into any trouble with that lens.
Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
I would say go for the BMCC. The raw will give you greater latitude to grade with and therefor match with. Also, the sensor is from a similar family as the Alexa so the tones are pretty close out of the gate. It will also rent cheaper than a C300.
Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary -
without a doubt, yes!
The fact is you will pay nearly $2,000 dollars for a RAID capable of hitting the speeds. And then you will fill it up very quickly. Except you probably still won’t have the power that you need to actually edit it anyway because it’s about more than the RAID. It’s about your CPU and your GPU to do real time debayering as a raw file has not been debayered, it’s about the sheer data rate of playback on all of your hardware. Remember, when editing CinemaDNG it’s basically editing a straight image sequence, not video files. This takes a lot of power. Editing natively with files of that size is a lot more intensive than most give it credit for.
You will however still need a large RAID to store your masters and your transcoded media. This is a consequence of shooting in raw.
Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
AJA IoXT
Adobe Production Premium CS6, Avid Symphony 6, Final Cut Pro Studio 3
The College of William and Mary