Matt Silverman
Forum Replies Created
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As far as I know, it does not work in FCP with Decklink. Pinnacle showed this working in Cinewave a few years back so it is “theoretically possible”, but maybe not with the Decklink hardware or the Apple codecs…
It definitely could come in handy… we capture in a lot of roughcuts from avid then need to add our finished comped shots. We tend to capture these roughcuts 10bit (overkill) so the timeline is consistent.
-Matt
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You need a calibration probe. Something like https://tinyurl.com/ltc5e
We hire a video engineer to do it for us. His gun costs around $7k and can calibrate any type of monitor (as long as the monitor has standard adjustments).
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Another solution would be to use the Transform animation preset in AE7 for “Seperate X/Y/Z”. This will make you an effect with three sliders for x/y/z. Then you can link your expression to just the y slider.
-Matt
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Another solution would be to use the Transform animation preset in AE7 for “Seperate X/Y/Z”. This will make you an effect with three sliders for x/y/z. Then you can link your expression to just the y slider.
-Matt
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No. It definitely was 30p. Every frame in the 59.94 clips were duplicated.
And thanks for the heads-up with timecode. I immediately noticed this. I ended up using the timecode from the 59.94 clip and matched back tot he 29.97 clip.
Varicam is definitely is a headache. We have learned the idiosyncrasies of HD-CAM and SR over the past year, but suddenly everything coming in is DVCProHD.
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The panasonic plug-in has fixed this problem. Still don’t understand why it happened though. And I think this plug-in might solve the smoke conforming.
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Final destination is a DVCProHD Quicktime… client will encode for the web. In this case, the edit is already done 23.98, and we just need to CC in smoke. FWIW, Discreet is adding 23.98 support to the next version. We are currently one version behind the current, so to get the beta we would need to upgrade first to v7, then add more RAM since the beta is 64bit. Not a cheap expense to run buggy beta software.
However, I am doing another project which I just hit an issue… I am posting a new message. Please check it out.\
-Matt
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This is a QT issue. The QuickTimeVideoOutput can only work with one app at a time. If you switch from one app to another app and both use QTVOUT you will end up losing the output. The workaround is to always option-click on your desktop (or dock icon) to free up the vout, then switch to the other app.
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Thanks… I am trying to avoid rendering. I’m checking into Dumpster.
I am doing this to try to figure out a pipeline between FCP 720p 23.98 to smoke which can only deal with 59.94 or 60. We want to use smoke to color correct. I initially came up with this pipeline…
Export QT ref from FCP.
Bring into After Effects and render BlackMagic10bit with pulldown added to 29.97.
Put this into a FCP and feed it live into Smoke capturing 59.94
Smoke duplicates every frame when captured, but plays back smooth.
After CC in smoke we feed back into FCP 59.94.
I put this clip into AE and conform frame rate to 47.952fps and remove pulldown.
I put this into a 23.976fps comp and render to BM 10bit. Works like a champ.
The problem is cuts that happen in the 3:2 pulldown can cause problems with the CC. So I decided to just conform to 59.94. and have everything play twice as fast… I think that the smoke can play it back correctly (next test).That being said, this whole 23.98 DVCProHD format is a mess. The next version of smoke is supposed to be able to deal with it, but who knows. We even have issues live feeding it from FCP to FCP… take a 23.98 sequence and feed it to another FCP box with a 23.98fps capture preset and the picture plays 2x slow. The second box needs to be set to 59.94 capture. Argh.
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Long story trying to be short… in order to preserve a 10bit pipeline you need to work in bit depths 10bit or higher. Most computer applications do not support 10bit, since computers like multiple of 8’s. Therefor you must work in 16bit or higher in apps like After Effects or Photoshop whenever you want to preserve the detail in 10bit material (ie. Digibeta, D5, HDCAMSR, etc.), create original material with subtle gradients, or get your best bang for the buck when pulling keys or color correcting. If you are creating flat graphics without gradients there is not a need to jump up to 16bit, and everything will work and render faster.
You need to do a few things to get After Effects to work. Make sure your project is set to 16bit. Make sure that Trillions of colors is selected in the Output Module popup. On the Mac this is not on by default, and the text prefs must be modified. Open the text prefs and scroll down to QuickTime 64bit, and set v210 to “1”. Then you should be able to access “Trillions”. If this popup is not active, you will render 8bit RGB into your 10bit YUV file.