Misha Aranyshev
Forum Replies Created
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[Bill Davis] “isn’t the presumption that you have the budget for access to something like a KiPro that simply makes the problem go away?”
KiPro doesn’t make the problem go away because video out on the Red One camera is either 60 or 50 fps no matter what actual shooting fps is and the timecode embedded in the Red One video out signal is 3 to 6 frames ahead of the actual timecode in recorded R3D.
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I just wanted to point that DSLR footage is not “everything”.
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[Bill Davis] “X is a much more efficient editing program compared to Legacy primarily because they obviated the need to pre-render everything in order to get to work – just like FCPs competitors.”
Did they obviated the need to pre-render Red R3D, DPX or ARRIRAW? Was there the need to pre–render DV or DVCPRO-HD in Legacy?
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Does it read numbers on the slate in the picture take and the announcement in the sound take? Does it match the frame in the picture take to the clap in the sound take?
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[Richard Herd] “How did folks use it?”
Synced to the timeline in Gang mode it is essential for jobs like described in this post: https://forums.creativecow.net/readpost/335/4790
Synced to the timeline in Open mode when I need to adjust effects. Lets say the project doesn’t require or can’t afford real grading, just a touch up with 3-way Color Corrector. Select all video on the timeline, apply 3-way CC, enable Open, switch to 3-way CC control tab, adjust and downarrow through you cut.
Synced to the timeline in Open mode when I need to trim audio, especially ADR.
For match frame and replace (the real one, not FCPX flavor)
For syncing production sound to picture dailies
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[Carsten Orlt] “If you do either of those things you’d get FCP8…”
To get to FCP8 besides the tracks and the Viewer they’d need to fix 3-point editing, bring back real replace command and get rid of magnetic timeline. And that’s just the start.
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[Craig Seeman] “Three point editing works for me and I suspect most people or you’d see wide complaints about given its fundamental use.”
It is broken by design. When they realized that they duct-taped Shift-D onto the the thing.
[Craig Seeman] “Replace at playhead is not broken. It hasn’t been implemented. Replace is currently is Start or End or “Replace.”
“Three useless things where one useful was is broken.
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Heretical, isn’t it?
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[Andy Neil] “I’m just asking questions about your workflow”
Back when films where shot on film nobody edited with the original camera negative. They would strike workprints, edit with them and only after picture was locked went back to the negative. It is the same now except ProRes is our workprint and DPX is our negative.
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Basically you have to look at WHY you need one clip on top of anothe
Because I’m editing a feature shot on Arri D21, Red and Alexa. The actual clips I cut are all ProRes LT but the VFX guys and the colorist wants the original “Digital Negative”. To give it to them the first step is to make three EDL’s for each type of the footage. That’s why I need tracks.