Nelson Goforth
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Tea-dying is the usual procedure. I did it with some white shirts on a film noir short ( https://vimeo.com/23504506 ) and noticed that one wash seemed to remove the tea stain. I’d expected it to stay, and was going to label the shirt for future shoots. You might ask a good laundry, or your mother, about that. Whites have always been a problem, film as well as video, and the tea-dying trick goes way back.
If you can’t tech-down the dress your only other choices are (1) to have a grip chase her around with a double net, leaving light on her face but taking it off (most of) the dress; or (2) just keep the lighting ratios such that the dress doesn’t blow out. Since you’re doing noir maybe you can make the crushed shadows work for you.
Nelson Goforth
Red Camera & Production Services, Denver Colorado.
https://www.rockymountain4k.com * 303.506.2456Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
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re treadmills. Look up the beautiful short “Nuit Blanche” by Arev Manoukian (it’s on Vimeo and probably other places). In the behind-the-scenes video you’ll see he used just this technique against a green screen.
Red Camera Production, Denver Colorado. 303.506.2456
https://www.rockymountain4k.com -
Right. I was just responding to the initial question about getting stereo out of one transcode and two monaural tracks from another.
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Answering my own question:
Yes, I’d inadvertently hit the “Linked Selection” button or Shift-L, which seems – turned off – to act as a more long-term version of the Option key. It’s not in the menus that I can… oh yes, there it is, under the Edit menu. I just happened to notice that on of the little button bar icons was turned off, and tried it.
There you go. ONM.
Nelson
Red Camera Production, Denver Colorado. 303.506.2456
https://www.rockymountain4k.com -
In my current project I’m shooting on a Red (so 4 channels audio, nothing explicitly L or R channel) and recording mono audio to two channels (as backup). I then rendered to HD in 422HQ.
The audio still came out as two channels of monaural sound, which it was; not stereo. My rendering program (RedCineX) doesn’t appear to have any choices about how it exports those audio channels.
The benefit to stereo, though, is that changes to levels that you make to a clip would affect BOTH channels at the same time (though panning doesn’t seem to work, or doesn’t work the same way as it does on a mono clip).
Red Camera Production, Denver Colorado. 303.506.2456
https://www.rockymountain4k.com -
Jeremy – yes, that works very well, and is even simpler than the “Trim Edit” feature (for this purpose).
I’d only learned the ripple (rr) tool as a deletion tool, assuming that the way that the… whatever it is, the cute little handle of film… pointed toward what the tool would affect – but it ripples an extension as well. Thanks for the video explanation as well.
As with many good tools, there’s more than one way to solve a problem.
Nelson
Red Camera Production, Denver Colorado. 303.506.2456
https://www.rockymountain4k.com -
Shane – thank you. The Trim mode was just right, though I’m going to try the “four Ts” (funny, that term has entirely different meaning to a camera and lighting guy) just so I know it.
I did notice that, in the Trim mode, FCP wants to default to the Roll tool, which changes the edit point on both clips just as in normal use. I can make it use the Ripple tool, which does the job I want, but it’s difficult to hit the trim window in just the right spot to make it show up. I know that’s an odd description, but when I place my cursor on the left-hand window’s timeline it shows the Roll tool icon. If I move it around a bit it (mere pixels – I’m on a MacBook Pro) it changes into the Ripple tool.
In any case, I made it work and that’s a good thing to know. I appreciate the help.
Nelson