Michael Gissing
Forum Replies Created
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CHV also have a noise reduction plugin which is OK but not as good (or fast) as hardware denoisers.
For sharpening I found the FCP sharpener noising and horrible looking. Lyric make a sharpen mask that is much better.
You could go crazy and buy heaps of plugins.
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Indeed, convert on capture. If your FCP setup has NTSC reference video, it would be best to disconnect this when you capture.
Take PAL reference from the Kona into the camera.
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If the client wants 25 frame DV 16:9 then I would shoot 50i (or 25p) if your camera is switchable. Speed converting from 24 is an unnecessary step that changes pitch and will be a huge problem if you are recording sep audio.
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Spare a thought for the poor mass duplicators. If Sony wins then the investment is so much higher. HD-DVD was about a quarter of the price to set up mass duplication.
And Walter, whilst I admire your optimism, I would have thought this made it easier for Sony to charge whatever licence fees they want.
Just for the record, I have seen excellent HD mpegII playing off a red laser, so blu ray is mostly about capacity. With multi layering technology proving to be as reliable as blu ray, I consider Sony is lucky to have won this format war. Don’t be surprised if the really big markets – China & India ignore blu ray and go with a multi layered red laser option which uses existing duplication lines plus multi layering to exceed blu ray capacity at a fraction of the cost.
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Same process as filters. Copy the clip, select target clip, paste attributes and select motion.
Voila
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Two things. Firstly why drop the HD into a DV timeline? Drop it into an uncompressed timeline to minimise the codec loss of DV. especially if you are then going to mpeg for DVD.
Secondly, the slo mo issue is due to different field orders. HD is upper and DV is lower. You can fix this by making a QT movie of the slo mos in the HD timeline and putting the new clip on top of the slo mo in the HD timeline. There is a problem rendering slo mos when the shift field filter is applied which is what is likely happening when you drop and HD timeline into a DV sequence.
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OMFs do not transfer dynamic levels and filters. Automatic Duck does convert FCP projects to Protools with dynamic levels but filters just don’t translate. FCP has been making good OMFs since version 3.
My only question is why you want to translate levels. We do sound post here and never want editors rough mix levels anyway. After splitting tracks & setting up stem mixes, applying compressor/limiters, those levels won’t be right anyway.
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Capturing to ProRes via the Kona is best. No point in capturing uncompress and then converting.
I am about to update from my G5 so I haven’t tested ProRes but many here have and could best handle your queries about Kona & your config. I am using Decklink.
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[Devin Crane] “Apple has alienated 2 of it’s biggest partners Avid and Adobe with it’s own Pro Apps both were mainly Apple based until they started there own Pro Apps”
Actually it happened the other way around. It was AVID going to Windows that started FCP
[Devin Crane] “2nd is they could be selling FCPs code since it is 32bit Carbon base and not 64, and re-porting a whole new FCP from the ground up. I wouldn’t bet on this one though.”
I won’t bet on that one either.
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Tom, I have used 10bit for long form docos up to 90 mins duration. I assume you are using 8 bit for space.