Mike J.
Forum Replies Created
-
You can force the 5.1 universal to open using Rosetta and your plugins come back. Use get info on the actual application icon and choose OPEN USING ROSETTA.
It’s slower…
-
Exactly…no arguements on that.
Just know that although you guys see this equipment as a pot of gold… folks here buy things an expect the “box” so to speak to do everything for them…that it just works out of the box..like a blender.
The place I was refering to actually didn’t purchase all that gear, some are leased and the D5 is a rental. I was just helping out after hours and they didn’t have a blackburst. I’m new to the Kona 3 so I was curious if it could work right without a blackburst. Honestly… if you scroll back..that’s what I posted about…
It was the regulars that started the unnecessary attitude.
Ultimately I just wanted to help somebody out in a deadline situation and I thought this would be a place to ask that blackburst question.
What was written seemed more about a deserved yet lack of access to the same equipment. I lived and worked in Chicago for a few years. It wasn’t going anywhere…so I moved to a “far more expensive to live” area that uses gear at the same striving level as you both…more expensive gear…but the that is only comparable to the market.
Greener grass and all that yada yada… Somewhere somebody is tired of have sex with Halle Berry. You know what I mean.
-
Understood. I lived in another market much like that at one point.
-
Bob,
If it is a deliverable…it is a deliverable… it’s what they want. I’m not pro 23.98 vs 29.97/59.94. I was just stating an example along the lines of this original post.
And yes…absolutely correct you are… it’s a pain in the*ss.. but I can say first hand…this IS going on – even more this year.
Do you do work for Motion Picture Studio?
-
Why?
It’s smart to anticipate this in the world of features. Studios are wanting a 23.98 HD master for features. 23.98 is the best format to get to any other…PAL, FILM, and NTSC HD, SD Pan and Scan, Center Cut, letterboxed.
It’s becoming a simple deliverable fps format for features AND episodic television as well. I actually covered his other questions in a previous posting above.
-
bravo?
I think Bob is a bit presumtious, cocky and angerfilled to say “bravo”, Gary. Perhaps the best way to set us annoying folks straight..is to write No responses at all…
..but that would require you to not have the opprotunity to flaunt the attitude.
Bob…people really, really appreciate you here and your feedback in this forum… So thank you but does it really need to come with such a disgust for people which is seems aren’t aren’t you?
Obivously you are aware of it and display it in you profile. Relax, dude. Try actually reading the whole questions FIRST before you go off half cocked polluting us with unecessary syntax.
And seriously, Gary, Bravo?
-
Well… one global thing is how much more money do you want to spend.
Leaving it at 29.97/59.94 is of course your fomat for broadcast and it works as well for DVD. 23.98 works better with DVD because it takes up less space and better compression can be used. But..it’s not super subtantial savings..so don’t sway because of that.
I would say..stay at 59.94. It already exists now and it looks great. Remember..it cannot go back to film easily in this way. And yes..the cadence is off…the 3:2 pulldown is scattered about so don’t try any pulldown removal tricks…you’ll be dissapointed in the stutters..
Pal can be made from the 59.94 as well. again.
You can color correct in 59.94.
You audio post place (usually all work off a offline 29.97 tape anyways) is doing the audio correctly too.
You seem in a good place.
If you really need a 23.98 master… do it now. conform the 29.97 list to 23.98 in Cinema Tools..and check it carefully for 1 frame errors. You’re audio will still sync correctly.
It seems you don’t need this…just keep a simple 29.97 edl of the timeline in the event that you ever need to be 23.98 though. Pick up that cost later if needed.
Mike
-
Try a restart… I know…simple…but try that.
Second..make sure you AUDIO MAPPING is set to the appropriate channels (1&2) instead of 3 and 4 for instance (do that in FCP of course)
Unplug the connections to the deck and switch the deck off …..then on. Retry…
Tell it you’re giving it AES (maybe it thinks your giving it AES audio right now in fact) but after checking that…switch it to be AES instead of SDI. Then switch back to SDI
It’s weird..had an incident with a D5 where everything was right but we had to switch to AES then back to SDI to sort of PRIME THE PUMP to get it recognized.
I’m trying…hope something here works out…
-
If you have a 29.97 you want to PAL and you feel like rendering to save a dime….www.Nattress.com.
Graeme sells a Standards Converter FINAL CUT PRO plug in that, while taking a great deal of time to render, does in fact work great.
-
Appreciated Bob,
My origin
I’m going leave this be and just say thank you for all your help.