Matt Lyon
Forum Replies Created
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Really old thread, but I stumbled on it because I was having the same issue today.
Try enabling motion blur, and cranking it: I set mine to 1000% and 4 samples. Definitely helps, but at the expense of adding a ton of render time. YMMV, depending on the exact nature of your titles.
Hope this helps,
Matt Lyon
Editor
Toronto -
[Eric Hansen] “i’m bummed i couldn’t find a real solution though. i foresee this being a huge problem as we start team editing this movie.”
Hi Eric, I totally understand your fear! But I think your solution here lies in making sure the problem doesn’t occur in the first place. With the right work habits in place, you should be able to avoid or minimize disaster.
It sounds like you already have a good idea of what caused the issue in the first place. So I would suggest establishing some ground rules like “don’t delete media while the editors are online.” Leave the heavy lifting to the night shift, when no machines are connected to the SAN and no FCP projects are open.
Similarly, make sure everyone uses autosaves, and does nightly backups of their projects to a memory stick.
If the problem occurs again, try to quickly figure out why it happened and then establish additional rules to stop it in its tracks.
Hope this helps,
Matt Lyon
Editor
Toronto -
Hi Jeremy and Eric,
I’ve had this problem too in the past, always with projects shared across machines. I guess nobody has figured out exactly what causes it?
I could only ever get a rough idea of why this happens, but I have never been able to reproduce it predictably. But I’d be very surprised if it has anything to do with the prores proxy media itself.
Eric, a couple things tips that may be worth trying:
-On the machine that created the project, dig through the autosave vault for a “good” version.
or
-On the machine that created the project, unmount all your network shares and SAN drives. Open the problem project and see if the file paths are intact (everything will be offline, of course). If the file paths are in fact intact, copy your timeline(s) and bins in a new, empty project. This will likely not work if you’ve already “re-saved” a project once the file paths have broken.
Do you have any files with extremely long filenames or paths, or symbols in the file name? In my experience, that sometimes seemed to make the problem worse (but not always!).
Hope this helps,
Matt Lyon
Editor
Toronto -
Hi CJ, this thread isn’t all on topic, but might help a bit:
https://forums.creativecow.net/thread/8/1126297
Matt Lyon
Editor
Toronto -
You can use Cinema Tools to remove pulldown. It will create a new clip that matches the attributes of the source footage, albeit @ 23.976 fps. So your data rate, resolution, etc will be exactly the same.
BTW, using the same frame number for the “IN” timecode in your 29.97 clip and your 23.976 clip does not give you the “same” in-point. For example, frame 15 @ 29.97fps is equivalent to frame 12 @ 23.976
Hope this helps,
Matt Lyon
Editor
Toronto -
Hi Craig, I generally split my time between live action and full CG shows. For my live action work, color-management doesn’t really come up. But I’m working in “offline” mode usually. The whole show gets handed off to a dedicated facility for conform and color correction. They make it pretty.
For CG shows, it is a huge topic of conversation! But every studio probably has different approaches. And I’m sure the nature of the deliverables also dictate how the color pipeline is designed. In my experience, only artists that deal with color critical aspects of production get targeted for a “color managed workflow.” (Like a lighter or compositor). An animator would not have to worry about color management.
Matt Lyon
Editor
Toronto -
Just thinking out loud here, but /if/ Shake can handle the conversion, could you use Media Manager to export a folder of trimmed selects from your timeline? Then you avoid the FCP re-export. Then you can run the Shake script on the folder of trimmed quicktimes.
Of course, maybe there are some “gotchas” that I’m not thinking about…
Matt Lyon
Editor
Toronto -
Sorry if I missed something, Adam, but if you are doing a pre-conform in Resolve, why bother re-exporting footage from your FCP timeline. Couldn’t you just use an EDL in conjunction and the camera original files to the Resolve system. Then you can be 100% sure that FCP isn’t messing with anything.
Matt Lyon
Editor
Toronto -
[Ben Holmes] “2. You will need an enclosure for the edit gear – a ‘hush box’ for the Mac and video array are a big plus when you have to be around the gear all the time. There are a good number of enclosed racks on the market. Clients will thank you for it too. “
Interesting thread! I’m also doing some research on souping up my home edit suite. Ben, do you have any recommendations on hush boxes? I’ve found one company that looks good, but pricey:
https://www.custom-consoles.com/Isobox-post-production.php
Any tips for a more “value priced” option would be much appreciated!
@ Chris : As far as lighting goes, I’m planning on putting in 6500K “high CRI” bulbs to match my computer and video displays.
For reducing eyestrain, you should set your monitors to a proper brightness setting relative to the ambient illumination in your room. 120 cd/m2 is the number I often read as a recommendation for LCDs. But if you are working in total darkness, that might feel too bright. Having proper “surround” illumination behind your displays is often recommended too.
Hope this helps,
Matt Lyon
Editor
Toronto -
One other point which doesn’t maybe get made that often:
When a video camera is designed, the product development people evaluate it’s images on a calibrated broadcast quality VIDEO monitor, not a computer display.
So if you want to see your images the way they were engineered to appear, then you need to watch them on a similarly calibrated device.
Granted, there are some cameras these days that shoot “off spec,” like going full range RGB instead of 16-234. And I can’t say with any certainty that DSLR video cameras are evaluated with proper rec709 calibrated gear … but I think the point is still valid.
Matt Lyon
Editor
Toronto