Noah Kadner
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Are you sure you didn’t accidentally make some edits/set some transitions while zoomed in that you didn’t notice? I’ve done this occasionally but I’ve never seen it happen completely on its own.
Noah
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Also Eizo has some nice stuff- https://www.eizoglobal.com/products/eizo_4k_monitors/
Noah
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Bit of a shame they didn’t come up with this piece of kit 10-15 years ago, before 24p/4K digital weren’t already so ubiquitous. If I really want to shoot film in 2015 it’s going to be 35mm or IMAX to be worth the effort/$. I haven’t heard of anyone shooting 16mm in a long time let alone Super 8.
Also—16-bit/48Khz OGG-compressed audio falls kinda short when I can get 24-bit/96 kHz BWF recording in an entry level Zoom audio recorder. That said, kudos to them for actually building a new camera, no easy feat.
Noah
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H.264 would be my choice. Only time I ever touch anything DVD anymore is when an actual DVD is specifically required.
Noah
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Check your Final Cut Pro>Commands>Customize to make sure Command-E is assigned properly and if that’s correct make sure you don’t have a macro someplace else in the system.
Noah
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Duplicate Project as Snapshot:
https://chrisfenwick.com/home/2013/12/22/tutorial-fcpx-101-duplicate-project-as-snapshot.html
Noah
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Film hasn’t gone away, many major motion pictures and TV shows are still being shot on it- for example Star Wars VII. So, not sure if you were being serious about restarting a trend but it’s not necessary if you were.
To scan Super 8 yourself you would need a motion picture film scanner. Scanning the negative directly in say a desktop scanner would result in a lot of registration problems- i.e. the frame would jump in every frame. And filming off the wall with another camera will look really cruddy.
The one you want is https://www.blackmagicdesign.com/products/cintel with the 8mm gate.
That said- buying a $30,000 scanner to scan 8mm film is probably not what you had in mind.
I would instead just suggest having a telecine house do the scanning for you.
Or to be honest shoot digitally and make it look like scratchy super 8. Lot more cost-effective. Tons of camera phone apps can also do this effect very convincingly as well for a lot less $$ to get visually nearly identical artifacts.
Noah
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Definitely don’t go mucking with the database in the finder- could have nasty unintended consequences. I believe what you want to do is set AUX timecode- that’s not something FCPX does. The timecode embedded in the QT is what it shows. Of course you can always add a generator on a timeline and make it whatever TC you want.
Noah
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I’d guess there’s so much Resolve specific data in the CDL that it’s only intended for sharing between Resolve operators. The round trip workflow with FCPX is edit in X, grade in Resolve and render and then replace media in X with new graded media from Resolve and export with final sound track (including possible sidetrip to ProTools). The CDL would not come back to X.
Noah
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If you have a computer with multiple ethernet ports you can try. I’d say experiment via an Amazon 30-day return policy. Too many variables to give you a definitive answer. You’ll probably be fine with this solution but I also wouldn’t be surprised if it’s bottlenecked in some way. These are just the last things I’d recommend for serious editing. I’d sooner just connect a decent external Thunderbolt drive and share it.
Noah
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