Matt Stalker
Forum Replies Created
-
Thanks for the response Tim. Yeah, it seems like a strange format that’s tripping people up around here. I’ll post back here what I learn from the experience. I’ll be importing the Varicam footage into a 24p project in PPro2, then I’ll send it over to After Effects for compositing, and then it will end up in an Avid for finishing. I want to hammer out the timecode issue to make the process as painless as possible!
Thanks,
Matt
Matt Stalker
Center City Film & Video
mstalker@ccfv.com -
Yes, I’m no stranger to finding myself totally frustrated with my computer! Hmmm…I occasionally have this problem if I remove the pulldown, but then accidently put the shot into a 29.97 fps comp. May want to check the comp settings if you’ve not already done so.
Also might want to check that both tapes are indeed *identical*. Is the timecode on both exactly the same? One doesn’t have drop frame and the other non-drop or anything like that? I’ve seen it happen. If you used the same batch digitize in/outs for your clips but the timecodes are off even by a frame, obviously your clips from each reel will not be exactly the same.
I suppose there could be a problem with the footage, but more likely there is just some small variable between the tapes, or the way they are being handled in AE, that is hiding from you. Find that small variable and you will likely solve the problem. I’d be interested to know what it was if you eventually solve the problem.
Just out of curiosity, why do you need to re-composite using the BETA footage? Better quality? Just wondering…
Matt
Matt Stalker
Center City Film & Video
mstalker@ccfv.com -
We pay several hundred dollars per year for multiple accounts…
Matt
Matt Stalker
Center City Film & Video
mstalker@ccfv.com -
When we get film transfer reels, our AFX guys run into pulldown removal problems if they digitize across cuts…Each shot on these reels often has its own pulldown sequence because the shots have been compiled from a larger master, and may not have been part of a continuous sequence on that master. The first thing I would check with your Beta footage is that you have not accidently digitized two shots (“across” a cut), even if by only a frame. If each shot has a different pulldown sequence, no matter which way you remove pulldown one of the two shots will be wrong…
The second thing I always do if I’m having trouble is open the problem layer in a footage window before I remove the pulldown, and step through it manually. You should be able to see the pulldown sequence of whole and single frames in the first five frames. If you remove pulldown using that pulldown sequence and still have a problem, it is because the pulldown sequence is changing somewhere between the first and last frame of your shot (most likely for the above reason: there is actually two shots that were not sequential on a master).
Hope that is helpful…
Matt
Matt Stalker
Center City Film & Video
mstalker@ccfv.com -
I recently did some HD work and encountered the same problem. I using an hp xw9300 with dual dual-core opterons and outputting through a multibridge extreme to an sony broadcast HD monitor. There are some settings that need to be tweaked in the Video Preview prefs, but I still get less than realtime playback of RAM previews. Anyone shed any light on this one?
Matt
Matt Stalker
Center City Film & Video
mstalker@ccfv.com -
Thank you, gentlemen, for the response. Interesting to hear that everyone agrees that SD looks lousy on LCDs. Could be that your solution of keeping 2 monitors in the room is the way to go…Geez, now I’ve got a space issue! Anyway, has anyone out there used the Panasonic BT-LH series? Bob, you mentioned they handle SD properly. Do they behave the way Charlie says the Apple does, with a pixel for pixel creating a small window in the center? Thank you again for the input guys.
Matt
Matt Stalker
Center City Film & Video
mstalker@ccfv.com -
Mike at Adobe Support found a way…If you export the problem clips as a batch list, and then reimport the list, the associated settings are reset, and you can capture the clips with any settings you like through the capture window. Good job Mike at Adobe Support!
Thank you,
Matt
Matt Stalker
Center City Film & Video
mstalker@ccfv.com -
Right! So is there no way to change the settings of a logged clip without re-logging? In this case I’ve only two or three to fix…However if an entire list of a hundred or more clips was accidently logged incorrectly this would constitute a loss of hours of client time. I can tell you that the assistant editors in my shop have boxes and boxes of tapes to digitize every night and mistakes like this are not uncommon. I really hope there is a way that these settings can be changed! Anyone else have any idea?
Thank you,
Matt
Matt Stalker
Center City Film & Video
mstalker@ccfv.com -
Yes I did create a batch capture list…Now I want to change the properties of an offline clip to capture video in addition to audio. Working in ppro2 by the way…
Matt
Matt Stalker
Center City Film & Video
mstalker@ccfv.com -
Hi,
I get this error sooner or later on almost every job I do that has audio. I don’t think it’s that uncommon since all the guys in my shop seem to get it. We get it during RAM previews and sometimes during renders. During RAM previews, flushing the cache seems to temporarily fix the problem. For rendering, we do as the above poster suggested: lower the number in the “Purge Every (x) frames” in the secret preferences.
We don’t get this problem if there is no audio in the project. It seems like the audio is filling up the RAM and not being purged for some reason. Is that why a manual purge fixes the RAM preview and the purge every (x) frames fixes it for the renders? A question for the tech guys I guess…It is annoying and I’d love to see it fixed!
Matt
Matt Stalker
Center City Film & Video
mstalker@ccfv.com