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Richard Cooper
April 8, 2015 at 10:24 pm in reply to: Warp Stabilize 4K on HD timeline

Hello Harry,
Premiere cannot warp stabilize a shot on the timeline when the resolution of the clip doesn’t match the timeline resolution, but there is a simple solution. Right click on the 4K clip within your 1080p timeline and choose “Nest” now apply the warp stabilizer to the nested sequence that replaced your 4K clip and it should work for you. You can also use this when you have altered the speed of a clip on your timeline and then want to warp stabilize.
Hope this helps,

Richard A. Cooper
Hybrid Color Films LLC
Anchorage, Alaska
http://www.hybridcolor.com
Richard Cooper
May 6, 2014 at 8:33 pm in reply to: Picture is cut at the very end of a clip

Hi Sebastien,
This is something new in one of the last updates that I have notice as well but nothing to worry about. It is just telling you that you are on the last from of the timeline, nothing more. If you have an external monitor connected you will notice that it does NOT show up there or on any export you make… just shows in the program viewer only and nowhere else

Richard A. Cooper
Hybrid Color Films LLC
Anchorage, Alaska
http://www.hybridcolor.com
Richard Cooper
June 28, 2013 at 9:34 pm in reply to: Looking for a Good Insurance Company – Liability and Equipment

We use Heffernan Insurance Brokers out of LA. One call and she takes care of everything… quick, easy and painless. Complete DICE Production insurance including General Liability, Owned Equipment coverage as well as rented equipment coverage.

Talk to Allison:
https://www.HeffIns.com
(213) 785-6927

Hope this helps!

Richard Cooper
Frostline Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com
Richard Cooper
June 3, 2013 at 9:27 pm in reply to: Connecting Edit Suites

Hi Warren.
We are also going the 10Gig Ethernet route via Bob Zelin! We have yet to install, but will in the next 30 days. Wanted to ask you how it is going?

Do you have the dual screen issue that Walter is experiencing with Zelin’s 10Gig set up? As for iMacs at 10Gig speeds, we are planning to use the Thunderbolt to 10Gig adapters for the iMacs so we get 10Gig speeds with them.

Would love to hear about your experience WITH 10Gig. I have been extremely impressed with Bob Zelin and we are very excited to get this system in place ASAP!

Richard Cooper
Frostline Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com
Richard Cooper
May 25, 2013 at 12:56 am in reply to: new 10gig shared storage solution for under 10 grand

Bob, Sending you a private message now.
Looking forward to chatting.
Thanks!

R~

Richard Cooper
Frostline Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com
Richard Cooper
May 20, 2013 at 4:11 pm in reply to: What is this for Exactly ?

If you”re just looking for a Dual monitor set up for you edit suite then go for it. It should work.
I may have missunderstood what you were trying to accomplish.

Richard Cooper
Frostline Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com
Richard Cooper
May 18, 2013 at 9:12 pm in reply to: FS700 and DaVinci Resolve

Depending on the length of your project, What we do here for the most part is export a ProRes 422 Master file (minus all the text graphics)of the finished project. Then in Resolve bring the master file in via Scene Cut Detection.
Go through that process an add cuts to media pool. This will give you a nice cut timeline with separate files for grading.

A couple of Caveats…
When encountering a dissolve in the Scene Cut detection DO NOT use the scene cut for this! Keep it a long clip with the dissolve between straight cuts for now. You need to add these scene cuts manually and then add the dissolve (both in the conform page). If you let the scene cut detector make the cut you will NOT be able to add the dissolve which will look terrible depending on your color grades for each of the shots.

Also be sure to right click on your timeline before you start grading and choose local grade, otherwise it will apply your grade to every shot on your timeline, which you probably don’t want.

It is a cumbersome thing to have to do, but unfortunately, RESOLVE does not work with .mts files from the FS700 so it is your best choice unless you trans-code all your footage before you edit to Proes, which is what we do for the larger projects. then an XML workflow is doable.

I really hoping that Premiere CS7 adds the capability to Media manage a finished project to a codec of my choice, which it currently does not do. This would really be a Godsend. Crossing fingers…

Then again, considering a camera upgrade from the 700 to an EPIC, in which case all of this will be mute for our company. I really want a 100% RAW workflow from edit through finishing with no trans-coding and Adobes workflow with the EPIC might just be that perfect storm.

Hope this helps.

Richard Cooper
Frostline Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com
Richard Cooper
May 17, 2013 at 9:40 pm in reply to: Cant get picture dark enough on Intensity Pro / Dell Ultrasharp 2400

I just talked about this in another post above so forgive me if this is redundant but…
i/o cards (like the Black Magic DeckLink Studio) play a critical roll in post production. It is what supplies a proper HD video signal to your (hopefully) calibrated HD monitor so you get an accurate representation of what you have when color grading or evaluating footage.
Computer monitors should not be relied upon for this purpose. The GPU cards are not putting a proper Rec709 HD signal to your computer displays…. so you cannot calibrate your computer displays the same as you would an HD monitor.

Bottom line, Spend the money on (at least) a $200.00 on a BM Intensity pro and another $399 on a 42″ Panasonic Plasma and you will be a happy camper.
If you are doing anything that you are being paid for, ONE job should more than cover the cost… Oh and if you are in the US, have Best Buy come in and calibrate the monitor for you to REC707 specs. Will cost another $300 but then you know you are at least in the ball park. Will be the best money you will ever invest into your business. Even it if just a hobby, you will be miles ahead of most and your stuff will always look fantastic no matter where it is played.

Hope this helps.

Richard Cooper
Frostline Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com
Richard Cooper
May 17, 2013 at 9:27 pm in reply to: What is this for Exactly ?

To add to all of this, In the digital HD workflow environments these days, The i/o cards still play a critical roll in post production. It is what supplies a proper HD video signal to your (hopefully) calibrated HD monitor so you get an accurate representation of what you have when color grading or evaluating footage.
Computer monitors should not be relied upon for this purpose. The GPU cards are not putting a proper Rec709 HD signal to your computer displays…. so you cannot calibrate your computer displays the same as you would an HD monitor.

So bottom line, for high end finishing work, an i/o card is still a critical link in the post production workflow.

Hope this helps!

Richard Cooper
Frostline Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com
Richard Cooper
April 27, 2013 at 11:31 pm in reply to: I need a camera op in Dallas

I have a friend down in Dallas that is a great shooter. His name is Ted Barnett. Lots of experience. Send me an email and I can get you his contact info. rich at frostlineproductions dot com

Richard

Richard Cooper
Frostline Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com

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