Mike J.
Forum Replies Created
-
..email him though…
-
Really…. I’m sure many people flat out asked that question too.
Thanks, I guess it’s workarounds then…
-
I actually asked about the existence of a filter that will clip the unsafe color outside the circle that can be used as a safety much like how the broadcast safe will commit whites to 100IRE. Not desaturating all colors… clipping.
Thus far, the answer is “no”.
I was also curious why the apple broadcast safe filter “appears” to deal with color, but it doesn’t actually work.
I use the same processes you guys are…. I actually have to secondary color correct some colors because they were shot way out of the color safe, while I do not want to desaturate the entire shot color pallette.
With moving cameras, sometimes the camera guys get images that pop on in the background NON COLOR SAFE and you may not catch it.
A filter like I mentioned would be helpful is all.
-
Fine….not really an answer to my question…
Clip by clip basis is how I’m doing it. There are occassional flashes of something red or yellow in the background of some clips that go over and you may not catch it with a moving camera is all…
but, can you suggest a PROC AMP and aprox price?
-
OPen a new project (NEW PROJECT NOT NEW SEQUENCE) with the the same timeline starting timcodes.
Change the settings to match the 8 bit settings. 8 bit 720×486 etc.
SELECT ALL from the project that seems bad.
PASTE into new 8 bit project.
That should take care of it.
Mike
-
Well..first how long is the project? If it’s a long film…maybe individual is why he asked based on the 2 gig limit.
You’re right though…just turn off all the tracks but one and export .omf. One at a time. Don’t worry about the stereo or mono tracks..it’ll still come out right.
You can get about hour per 4 tracks of audio to omf if they are are full. So 27 divided by 4 is 7 minutes of full 27 tracks at a time. Not a good amount for audio… which is usually 20 minutes per reel.
So..just do it individually… if it’s two hours you could do it 2 tracks at a time though and still hit under.
Mike
-
Well,
I’d say for simplicity sake…it’s only going to air on cable and the master will be 29.97 drop frame timecode.
I would edit the footage exactly the way it was laid to tape which is with a 3:2 pulldown making the images run a 29.97 (23.98 converted to 29.97 was recorded on the actual tape itself)
You can now combine regular 29.97 video to it in the same timeline, multicam it, and all cuts reflect whats on the master tapes as well.
if you do any after effects stuff with the video remember to remove the pulldown first, do the after effects work and render it out with the pulldown on it..just like you would if it was actual film transfer to videotape for tv.
Only worry about the 23.98 projects when they truly reflect an original 23.98 master tape HDCAM and you have to go back to it…or a film project which goes back to 24 fram film.
You are at the point with this that most televison shows for the past 15 years have been doing is editing video tape that has 24 frame media already converted to 29.97 on the tape…and even better you don’t have to worry about going back to a film master.
If there is ever to be a film out of this…then that is a different story… broadcast on tv…Ta Dah….
Mike
-
Explain broadcast common timecode….
Can that overcome the starting and stopping of muliple cameras at different times?
-
Did you caputure with an older version of FCP….meaning NOT 5.
With the timecode set to capture across without stopping…the code will start correct and as soon as THEY cut the camera..FINAL will continue with the same time assending timecode like there is not TIME OF DAY TIMECODE in existence.
Is this what happened.
-
SEBSKY’s TOOLs is the way..
You can take a track and in FCP set the timeline start to the start of the code you want your quicktime to start with…lay it in the time and export FCP movie NOT EXPORT QUICKTIME….it will embed the timeline code…but sebsky’s tools is faster and doesn’t require a copy of the quicktime…
Mike