Michael Phillips
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COW Coin
Forum Replies Created
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Have you looked at Digital Film Tools?
https://www.digitalfilmtools.com/zmatte1/zmatte1.htm
You could also look at Elastic Gasket to use your After Effects plug-ins within Avid:
https://www.profoundeffects.com/products/gasket/
Michael
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Check to see if you have a preset in the FluidFilm family of effects called FluidFilm. That will recreated media from 60 field material to be as though it were shot 24fps with the added 2:3 pulldown.
Michael
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Make sure the install including the Rainbow drivers.
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Film look can be achieved with the FluidFilm effect to create 24p from 60i sources. The rest of the look can be done with filters and color correction – third party filters or included. Film look is based on a lot of different factors including the original footage – lighting, camera movement, depth of field etc.
As far as MPEG, Xpro 5.1 and MCA 2.1 support MPEG4 as captured from IMX cameras – MPEG2 profile will be part of the release later this year which include other MPEG2 formats such as HDV.
Michael
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Xpress Pro and Mojo cannot capture SDI but can do uncompressed analog component. This may make your decision right away. Adrenaline can capture SDI with embedded audio or AES/EBU digital audio. The captured media can be moved to Xpress Pro with Mojo if desired for increased flexibility in the workflow.
Michael
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There is an Avid Free DV available for download from Avid.com. It is not a time limited version of the Xpress DV or Xpress Pro, but its own non-expiring version – a subset of Xpress DV functionality but may be enough to give you a sense of what Avid has to offer in interface and media management.
https://www.avid.com/freedv/index.asp
Michael
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As with all things, you need to test for your particular footage, but I tested 2K scans rendered as uncomressed HD and DNxHD 220 10 bit and did a split between the two. I then exported as DPX files and did a filmn out as well as project the DPX files on a 2K digital projector in a critialy controlled color correction room. No one has been able to tell me which side is which and how the split was done.
Michael
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DVCPRO can only be capture natively over FIreWire connected to a third party FireWire card in your CPU. At that point you can work in native DVCPRO. When capturing over HD-SDI, the deck decompresses the stream to an uncompressed HD signal which then gets captured in the DNxHD format of your choosing.
Adrenaline will then play back SD, HD, etc, in real time when in gre/yellow mode (real timne preview) but when performing a digital cut, needs to be of all one format (SD rendered as HD, etc.) Transcoding is the process of taking one format and converting to another.
Michael
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The difference would be wheehr hew wants to shoot 24p and edit at native 24p. If that’s the case, then XPress Pro. Keep in mind that the MC line only knows about NORMAL pulldown and only the recent Xpress Pro versions can deal with 240 NORNAL capture directly over FireWire.
If working at 30i, then either Xpress DV or XPress Pro will work.
Michael
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Many feature films are posted as 2K with only a handful currently working in 4K. Although there are many facilities providing this service, check out EFilm in Los Angeles at:
https://www.efilm.com/filmography.phpand you will see a credit list of films that have undergone this process. Depending on where you are , there are most likely facilities or labs that provide this service. You can also thumb through any issue of American Cinematographer and they list which films were done via a DI process or not.
It is also a popular process for super 16mm – although doing an HD DI process is more cost efficient and depending on the type of work needing to be done, you may not see the difference. Hustle and Flow is an example of a 16mm DI workflow.
Michael