Matt Lyon
Forum Replies Created
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you can also select all the clips you want to center and press ‘control-.’ (control and period).
Look in the “modify>audio>” submenu for lots of handy shortcuts…
Matt Lyon
Editor
Toronto -
SWEET! Thanks Dave… and boy do I feel stupid 🙂 I’d given up on the possibility of doing this years ago.
Matt Lyon
Editor
Toronto -
Hi Carlos, I feel your pain! There are no ease in/ease out controls on the x/y position, only on the scale attribute.
Unless there is something that I’m missing, there isn’t an easy way to achieve this. Maybe someone knows of a third party plug in?
Matt Lyon
Editor
Toronto -
Yeah, that’s what you want to see (wait, you are doing NTSC, right?). Have you tried posting to the KONA forum?
In a pinch you could also try setting the KONA to freerun, and patching a composite signal out from the LHE to the ref in on the beta deck (although I can’t recall if the LHE can do composite and component at the same time). Kinda kludgy, but it might work. If you problem is confined to the first 3-5 secs of your program, could you just put a 10 sec black slug of preroll at the head of your program?
Matt Lyon
Editor
Toronto -
Hi Dane,
75 ohm termination should be turned ON, unless you are looping out the signal to another device. Make sure you set the software control panel genlock for the KONA to REF IN.
The AJA control panel should tell you what kind of REF signal it detects (at least my KONA2 here does, not sure about the LHE). Do you have a ‘scope you can feed the signal in to check it?
I don’t have any experience w/ the BM sync gen, so I can’t help you there, sorry.
Matt Lyon
Editor
Toronto -
After revisiting my settings last night, I confirmed that the problem was indeed an incorrect setting on the incoming field dominance. Once I switched the clip’s property to “progressive” my preset worked as expected. So now I can get the same results using both methods (via FCP and standalone compressor)
Matt Lyon
Editor
Toronto -
ha ha, maybe I’m not even speaking Canadian, eh 🙂 I probably was in need of some of that fancy coffee when I wrote my post … I think most people up here would understand “best light” to mean exactly what you describe.
Matt Lyon
Editor
Toronto -
Yeah, the settings are definitely not intuitive 🙂 But I followed your instructions exactly and everything worked as described, so no problems there. I was just relating that I got different results when going directly to Compressor via FCP, vs. exporting a self contained quicktime and then running the same preset. But now that you mention it, I didn’t double check the incoming field dominance setting on the self contained quicktime … so maybe that was the culprit.
Matt Lyon
Editor
Toronto -
Hey Aaron, I agree with what your saying, but in my mind “best light” means a fully supervised telecine session, which can get pretty costly if you’re dealing with lots of footage. Depending on the footage, I would opt to establish a couple “looks” (indoor/outdoor, etc) with the colorist and then let them do most of the session unsupervised, overnight. Like you said, the main idea is to get as much dynamic range from the negative onto tape as possible.
Tristan, are they shooting super16? The raw negative will be a 1.66:1 aspect ratio so you need to think about how you’ll be cropping it when you transfer to the 1.77:1 HD master. Make sure the shooters protect the 1.77:1 area within the super16 frame if you are planning to crop the top and bottom of the negative during transfer.
Matt Lyon
Editor
Toronto -
Just to follow up in case this info might interest people:
After struggling to get this to work on my home machine, I realized the only way I could get good looking results was to encode directly from FCP to Compressor. Any tests I did using self contained or ref quicktimes would result in horrible “bouncing fields” artifacts. Maybe something to do with Compressor not recognizing the field ordering (or in this case — progressive frames) of the original footage?
But this was using Compressor 3.0.5 — maybe Compressor 3.5 fixes this?
Matt Lyon
Editor
Toronto