[Nick Meyers]

the problem is there is so little information in the blown out area.

captains blowout filter tries to get around this by accessing the colour channel with the most detail, and using that alone to fill in the area,
and then, i think, colouring it appropriately

but on the whole, any solution would involve “colouring-in” the blank, featureless area, with a skin tone.
i think your talent might still look bald!

nick

[Nick Meyers]

that’d be under the Modify Menu > Stereo Pair,
or more simply, OPTION L

nick

[Nick Meyers]

Hi, Jane.

i’ve been in a similar situation.
100’s of tape to capture (not 320!) in not much time.

the workflow we came to was this:

FIRSTLY
my assistant and i both captured at the same time, halving our capture time.
nost our fotage was A/B camera stuff, so this was god for us,
and we tried to keep vaguely in sync

SECONDLY,
we captured whole tapes.
as someone else mentioned, it;s not such an issues these days.

we started ding a “whole tape” log as the tapes were rewinding, but gave that up after a while, and settled in to whole-tape “capture now” mode.

FINALY
while we were capturing, we got an overview of what was on the tapes.
this was HDV captreng as DV, so once we were captured, we ran DVstart /stop to put markers on each new shot.

we put the days captures in a timeline, and found discrete “Scenes” or “Segments”
we broke up the clips into segments, renaming them, (you have to make the clips independent to properly rename them)
then used MEDIA MANAGER to make new files overnight.
(Media Manager kept the markers, and the DV start / stop info in the fle, BAtch Export would not,
but if you’re not working with DV, it probably doesn’t matter)

in the morning, we checked the new files for any errors (none spring to mind),
and deleted the captures when we had the all-clear.

this was a fast and efficient way for us to work.

oh, there’s a gotcha with Media Manger,
in that you have to delete 2 frames between the segments for it to work properly.
it’s weird as it will give you one frame back (on the tail),
but unless you delete the two frames, it will not properly split the files up.

hope that helps,
nick

[Nick Meyers]

it’s a really bad design stuff-up, IMO.

the only 2 things viewable in icons mode are clip name (god) and Duration..
duration? who cares???

i’d say if there was a poll, then “Media Start” would be a lot more of a popular choice than duration.

nick

[Nick Meyers]

Media Manager is actually quite stable and predictable for jobs such as these.

MM can get tricky when delaing with large sequences or projects,
but for simple moves, copies, or even a recompress like this, it’s fine.

buit it’s a good idea to read up a bit on MM.

i havent done much recomprressing,
but as it’s making a COPY of the media there’s not much that could go wrong, IMO.

if you need to reconect to hte original media doan hte track,
the basic settings to use would be:

RECOMPRESS

DONT delete unused

BASE MEDIA FILE NAMES on existing file names.

if you have added any log notes to the clips,
or changed their names (however i’d recomend you dont do that)
then you would also ask for a new project to be made.

cheers,
nick

[Nick Meyers]

i would have thought that MM didn’t use the best settings to recompress.

if you are compressing DOWN, then i don’t see a problem with using MM.

if you are compressing UP, then i’d say compressor offers better options, in terms of scaling.

nick

[Nick Meyers]

“if you don’t pitch-shift, everyone sounds like Alvin-chipmunk’s little step-cousin.”

but only to people who know the original speakers 🙂

FWIW, a lot of cinemas here in Aus, and i dare say over in the ‘States play movies at speeds faster than 24fps.
sometimes approaching 26fps
this gives longer time at the candy bar, and less burn time on the expensive lamps.
i suspect that these days there might be pitch adjustment built into the projectors.

nick

[Nick Meyers]

“ProRes HD has the data rate of uncompressed SD. FOr that a single firwire 800 drive isn’t fast enough.”

it has been for me.

ive just laid back to tape a 90 minute documentary.
all Prores (not HQ)
all files on a single FW800 drive.
.
it was all rendered, so there was a bit less hunting around for the files,
but i also had more than 6 audio tracks going at once, (not mixed down) and THEY were all on the same drive, too.

lucky me!

nick

[Nick Meyers]

like you cant search for markers in the browser, i guess!

from memory the only way FCP can find a marker in the browser if if the clip hap[pens to be toggled open, and the markers are showing.
that’s pretty lame, really.

however, you CAN do a search for markers in the TIMELINE.
if you had less than 12 hrs of rushes that could be useful.

nick

[Nick Meyers]

there aren’t specific PAL or NTSC settings for DVDs in Compressor.

i *think* it looks at the frame rate and figures out which one it is.

this has been working for me going the opposite way,from PAL to NTSC.
i was working on a feature where my rushes were PAL, but the frame rate “Conformed” to 24.
if we wanted an NTSC DVD, we just dropped our 24fps files into Compressor, and it made an NTSC Mpeg,
even though the frame size was still a PAL size.

nick