Misha Aranyshev
Forum Replies Created
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Copy the clip, make independent, relink, rename.
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[Steve Shaw] “Are FCP users interested in this?”
We are interested but isn’t SpaceMan a Windows app?
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[Alex Geroulaitis] “unless someone comes up with a way to implement networking over TB.
“Check CalDigit SuperShare or Maxtronic ExaSAN
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[Rohit Gupta] “New file formats and codes supported in DaVinci Resolve 7.1 include Arri Alexa ARRI RAW “
It seems there are more s.two recorders out there but all software that do ARRI RAW support Codex flavor. What’s up with that?
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[David Sacca] “Why should it cost hundreds of dollars?”
Because you’re going to spend several hundred thousands and “several” could be “two”, “three” or “five”.
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First, CinemaTools always could alter the frame rate of any movie to 23.98, 24, 25, 29.97 and 30 fps with conform feature. It doesn’t add or remove fields and frames, just changes the playing frame rate. It is different from reverse telecine.
Second, your choice of 23.98 vs 24 in standard definition is dependent on the size of the frame of your footage. If it is 720×480 go 23.98. If it is 720×576 go 24. That’s NTSC vs PAL. You can create 720×576@29.97 but it won’t play on your broadcast monitor.
Since a couple of versions back it is better to cut film projects in FCP in PAL environment. As for you current situation, it is all about sound. At some point you’ll have to go back to 48000 from 47952. The easiest way would be to do it at the end to the mixed tracks. The hardest way would be to send locked picture and OMF’s to the sound editor and discover the odd sample rate causes problems.
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It’s 2880×1620 bayer, not 2880×1620 RGB.
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gvs9000 was mentioned in a similar thread
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Scanner vs. telecine is like different types of film. Print stock is fast but coarse, intermediate is fine but slow.
You never telecine without some color correction – basic one light for dailies or very sophisticated for broadcast master. Even then telecine is used to create digital intermediate there is still a need to define the white and the black point. That means throwing away some fine variation in densities.
Film scanning is creating a digital clone of your negative. Ideally you don’t correct anything, just capture full range of densities there are on your film.
Film is moving continuously during telecine. On a scanner each film frame is still when captured. That allows for multiple exposure and makes the final image more steady too.
Generally when shooting film you go to telecine for dailies, edit and then scan only the frames used in your cut. Both types of devices besides image also capture and create metadata – keycode, timecode, film roll and video reel names so it is relatively easy to match back to your original.
In your case if it is just a couple of shots you may skip telecine and just scan everything. The more footage you need the closer you are to the point where it is cheaper to telecine one light and then rescan.
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Are you going to release theatrically?
Are you shooting Alexa to LogC or Rec.709 color?To better match Alexa and film footage your colorist would prefer LogC I think. If you are going to show your project on big screen again your colorist would be more comfortable with LogC. Then it is better to digitize your film with a film scanner, not telecine.
If you release on video it is ok to shoot Rec.709. Then it is probably better to go via telecine with film footage because that’s where you can have log to video color space conversion done by someone who knows what he is doing.