Phil Balsdon
Forum Replies Created
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He needs to stay with a frame rate 25fps. He’s in Australia (PAL) and correctly shot at 25p.
The older Canon Plugin CE1100X works with OS 10.5 and FCP 6 or 7 the new version needs Snow Leopard (10.6)
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Video tutorial of process with JVC HD111E, process is the same.
https://www.steadi-onfilms.com.au/vlog/?p=61
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Why DualEyes and not PluralEyes?
With PluralEyes you put all your video files (with 5D convert to ProRes first) to a new sequence in your project in FCP, add your audio files to new audio tracks in the sequence. Open PluralEyes, it will see the FCP projects that are open, navigate to the sequence and click sync. Simple.
There are options in how you sync and required outputs but that’s better explained in the tutorials on their website.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Must confess to having a little chuckle at Bill’s post.
But seeing as he mentioned pianos how about a tutorial(s) on the sound recording methods for HDSLRs?
Dual system, syncing, AGC etc.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
440 x 1080?
Should that be 1440 x 1080? Which is some kind of HD or HDV size.In which case why are your sequences DV PAL which is an SD 720 x 576 size.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Color Corrector 3 Way has a color match facility.
Basically you use the eyedropper in the color match box to select a color (eg a skin tone) on the good image. Then open the unbalanced image apply the Color Corrector and use the color selector (which will now be green) in the mids area to select a corresponding area of skin tone. This won’t be perfect but will get you close. You can then use the color corrector normally for final fine adjustment.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
12 frames, always 12 frames?
Could well be something to do with the GOP structure of HDV which as you probably know is a group of frames that requires the first and last frames of each group for reference.
In which case you’d have 2 options.
1) Follow Shane’s advice. (Change / convert it to a none GOP format).
2) Live with it, it’s the reason as you say its called the Devils format.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
I use the Fotodiox adapter for my Pentax K lenses. It is designed to mount the lens at about 45 degrees to normal. This moves the iris lever on the lens out of the way of the camera’s mirror without impeding the function of the lens.
Some brands of Pentax to EOS adaptors require you to machine / remove the iris lever from the lens so it doesn’t conect with mirror and damage the camera when releasing the shutter.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Also try trashing your FCP preferences.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
I would imagine it would be a far more efficient workflow to bring it into FCP as it is and then only have to grade the shots you use (with the added ability to simply copy a grade to similar shots), as opposed to grade absolutely everything manually on import.
The end quality result would be the same.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/