Matt Silverman
Forum Replies Created
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Try going to your project settings and turning on the checkbox to “match legacy QT gamma”. If this solves your problem please post back letting me know, and I might be able to explain what is going on…
Thanks,
Matt -
Duh.
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I meant 24p “720”.
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We are having this problem with firewire capturing 24p. The 720 format just sucks..
As for film mastering, I believe that most films are finished to D5 24p, not 23.98psf. This is one of the advantages of D5… true 24p, not progressive segmented frames.
Your last comment about varicam mastering… What is Panasonic’s recommended workflow? Blow up your master when capturing? Or work 720 then uprez before laying off? I guess you have no other option, since 24p doesn’t exist on D5…
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Gary, I work with Aaron who posted the original question. I was the one who told him to jump on the cow and see if he can get any info. For you to respond to his question with “Duh.”, is really quite lame. He had a very relevant question… “Duh” might be appropriate if someone asked if FCP can work on a Mac, and you were a 12 year old responding.
So to simplify his question and clarify some of your “answers”:
We work a lot with clients who shoot DVCProHD 23.98. Typically these jobs are cut in FCP, with final delivery for digital signage, web, or projection at 23.98 (ie. we need to deliver a DVCProHD or P-JPEG QT 23.98 progressive). Sometimes these jobs need serious color correction and finishing, and we would like to do this CC in smoke. We have not found any solution to roundtrip footage out of a FCP 720p 23.98 timeline and into the smoke, then back into a QT on the Mac.
The reason for this problem is due to the fact that as Aaron pointed out the 720 spec only allows for 60fps or 59.94fps. When we are working D1 or 1080, we typically send shots back and forth from Mac to Smoke or Avid via Decklink SDI or HDSDI with crash captures. 720 23.08 doesn’t allow us to do this… when it plays out to the HDSDI it replicates the frames to get back to the standard 59.94fps spec. If we capture this into a Smoke 720p project, we end up with the redundant frames. We have ways around this in smoke, but the problem is then how do we get back to the Mac 24p. Since smoke is running 59.94, we need to capture this material back into a 59.94 FCP setup, not a 23.98 setup. And since it lost all the metadata when it went over to the smoke, the frame-rate convertor will not work to throw away the redundant frames. You mentioned Cinema Tools, but from our tests it did not help. Please explain how you would do this…
We recently upgraded to the current version of smoke (2007) which supposedly had better Varicam support, but as I suspected it still is relying on the metadata. We figured that the only way to preserve the metadata was to lay off the sequence from FCP to a DVCProHD deck then capture it back into the smoke. This did not work. We are running the latest versions of both FCP and Smoke. You said that FCP can output the metadata if the deck if everything is setup correctly. We do not see any options for this in the manual. What exactly are we looking for?
If there is no solution we will write our own DVCPro Frame Rate Convertor which will analyze the clip rather than using the metadata.
-Matt Silverman
Creative Director
Phoenix Editorial | Designs
San Francisco -
I’m using the Kona codec, since the QT version is only for 4:2:2.
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4:4:4 is not overkill… The whole show is greenscreen with virtual environments. This was shot with the Sony F950 camera which is the SR camera. We had an SR deck as a backup, but to avoid the SR compression we went dual link out of the camera directly into FCP with Kona. It worked flawlessly except for this luminance bug.
For the record, your specs are really inaccurate. I suggest finding the specs chart from Miranda.
HD-CAM is far from uncompressed… 7:1 compression, 8bit, 3:1:1 colorspace. It’s dead technology.
D1 is (was) not a 10bit format… it is 8bit uncompressed 4:2:2. Some folks still like to use it for effects shots. I prefer the larger color space in Digibeta (10bit 4:2:2 2.3:1 variable compression which is lossless a lot of the time).
All computer monitors are 4:4:4RGB. I see this shift on computer monitors and out 4:2:2 HD broadcast monitors. -
The big question is why would you need to give decklink more than 3GB of ram?
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You need to be in a qt format for decklink to work. Check out their framelink utility to work with image sequences as a qt… instead of targa just render dpx (better bit depth than targa), then mount it like framelink.
-Matt
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Drag your project file from the finder into the project window of the new project