Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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I can also highly recommend Lyric’s free Shadow/ Highlight plugin whic does a great job of correcting underexposed foreground with blown out background. I use it a lot with the 3 Way CC.
Richard Harrington’s tutorial about using the limit effect is very good but sometimes there are other tools to use. I also often use Face Light – another free plugin ( thanks Marcus!), which can help to lift dark foregrounds.
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In the doco online/ grade area, I speak to lots of editors and over the past years the common quote has been “I prefer the AVID but if I am going to buy my own system it is FCP”.
Their two common reasons are price and the fact that they feel more comfortable in their technical ability to install and maintain FCP over AVID. Cost is a big issue in the doco area and lack of tech support that used to be available in bigger facilities but is now being squeezed as they compete with home FCP setups is turning opinion away from AVID.
Also few facilities that I know of here in Australia are exclusively AVID because they know that FCP is what many younger editors are demanding. I sense a generational change but amongst older editors, there is also a sense that FCP is now their preferred system.
That said, as someone who has used FCP for four years and still uses audio systems like Fairlight & dSP, I still find FCP and AVID to be clumsy and very poor ergonomically compared to dedicated controllers.
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I am not sure if you understand what RAID is. When you stripe two or more drives, they basically act as one big drive, with various options for redundancy etc, hence the various flavours of RAID.
It sound like what you want to do is have two separate drives with the same content. This can be achieved various ways but one way is to use software like Carbon Copy Cloner to make an exact copy of your first drive to the second one.
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In my experience, I have yet to have HDCam SR as a deliverable. We do about 30 docos each year sound post with picture post on about 15 of them. If I am reversioning, I would require the producer at some cost to transfer the HDCam SR tracks to files. As they originally come from a sound post facility, they should be available as files anyway and in fact not once have I needed to source HDCam SR tracks. Nice to have them there but really not required.
As a sound facility, I threw my DA-88 in the bin a year ago and refuse to support this format further. It is a shocker and belongs in the 20th century.
Given that the broadcasters then stuff your HD signal into an mpeg2 transport stream, I am looking forward to the day when we deliver that file electronically to broadcasters. We really must move on from tape. Sony have done well out of selling tape machines but that era really should end. Sorry to hijack this thread with a rant but I want to spend my money on creative things, not tape machines that almost never pay for themselves.
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A lot depends on what you mean by flickering. Is it changes of luma level, chroma level or perhaps that ‘old chestnut’ field order problems.
Even super psychics like David need a better definition of the symptoms.
What Rafael was guessing was that you might have set a whole lot of keyframes close together and the flickering is FCP trying to change settings rapidly.
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I really don’t understand the desire to put audio mix elements on 12 channels of HDCam SR. Audio post facilities don’t have HDCam SR machines. They want files. Even DA-88 is a waste of time as the audio has be converted to files. Please join the push to banish non file formats for audio deliverables.
Truth is most broadcaster use HDCam machines for broadcast so it is likely that the SR is just your master and standard HDCams will be struck from that for broadcast distribution (assuming it is a broadcast show).
If you have to deliver HDCam SR, then I suggest you take a Quicktime in the DVCProHD codec to a facility that can strike a tape if hiring a machine at a reasonable rate isn’t viable.
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Simple fix is to start a new sequence. Drag and drop one clip into the sequence. It will tell you if the sequence settings match the file settings and offer to change the sequence settings to match. Say yes to this and then check what the settings are.
At this point you can copy and paste your original sequence into this new sequence and you shouldn’t have any renders unless you start adding filters which is normal behaviour.
Yes to fast RAID drives with HD as well.
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Firstly what was the location playback device? Secondly the slowing of the file (which should be 48Khz not 44.1) by .1% makes sense because you sequence is probably 23.98 not 24.
I assume also that the mix you played on location is the same as the file you are trying to sync to. If so and your playback device was crystal sync accurate then the .1% should be right but as it isn’t, have you tried slowing it a little more. Also is the drift the same for all shots or is there some other variable?
If it holds for 30 seconds, surely you will be able to edit around that drift. Most music vids seem to have cut every 18 frames.
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If the program has been shot NTSC and it is only the final deliverable in PAL, then edit NTSC, output to tape and have the final tape professionally standards converted using hardware.
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My experience of grading Z1 footage is that it often looks a tad cold in the skin tones but not highlights.
The video looks well shot and LIT, which is the first ingredient in getting a professional look. It may have been graded in Color but that same look can be made in FCP using the 3 Way Color Corrector, plugins like Nattress gamma filters and a sepia wash (I would use a Lyric plugin to achieve this).
After doing a balance grade, a fair bit of desaturation before the sepia wash and that is the basic look. To bring out the natural red of the old man’s jumper, you can also use the 3 Way CC with the limit effect to boost saturation on particular colors. Richard Harrington’s recent COW tutorial is an excellent place to start to understand some hidden power in the humble 3 Way CC.