Richard Cooper
Forum Replies Created
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Hi Jason you say: “My sequence settings seem to be correct for this: HD(1280×1080)compressor is 1080i60. the source footage is 1920×1080 shot on Canon t2i.”
This, however, is not the correct setting for footage coming from the T2i…
Your time-line should be set exactly the same as your footage. Assuming you did the ingest properly (to ProRes through Log and Transfer) and that it was shot 1920×1080 30fps, your time-line should be ProRes 1920×1080 30P NOT 1280×1080 60i… The T2i is a progressive camera not interlaced.Did you bring the footage in as ProRes through Log and Transfer?
The best way to set your timeline properly is to create a new sequence, drop a SINGLE shot of the footage that you want to edit and when prompted, tell it “yes” to match sequence to footage.
hope this helps.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Arnie Schlissel posted these links over in the FCPX forum the other day. they should shed some light…
Which Macs support, and do or don’t default to 64 bits:
https://support.apple.com/kb/HT3770
How to change your default:
https://support.apple.com/kb/HT3773Good Luck!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
I have tried it but I couldn’t get it to take my FCP serial…. and yes it is a valid serial, all the way back to the original Studio. (actually all the way back to FCP 2 (not studio) I tried all of them but no go. need to get in touch with them personally and see what is up… maybe it is not supposed to take the dashes? (-)
Did you have any trouble with this?Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
In the secondaries room in Color, use the HSL key and select the red in the eye and a tracking mask so it effects only the area around the eyes (and nothing else in the shot) to desaturate the red part of the eyes.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
“…24-70mm f2.8 is a great all around lens…”
Agreed… this one, I think comes the closest for a one lens option. But I have found that 24mm on the 7D is not wide enough for my personal taste. I think the bottom line is, a single lens just wont cover all of your bases…. but If you can add a 16-35mm F2.8L on the wide end and then of course a 70-200mm f2.8L on the telephoto end of the scale you will be quite happy, I am sure, but these 3 lenses cost about $5600 all in… a little less if you can find them used.
Good Luck!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
I this particular project crashes on multiple machines while these machines work fine with other FCP projects, it is most likely a corrupted FC project file…
Maybe you have tried this but can you go back through your auto save vault and find a project version that does not crash your machine?
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Hi Lee,
Nothing that I am aware of that works like Log and transfer does this from the raw BPAV folders but… Another option is to use compressor through a “droplet” set to encode your XDCAM to your ProRes codec of choice. This way you can utilize all of your cores through Q Master which will really speed up the encode…..In all honesty though, this is adding an extra step and time commitment in the post process that, in the end, does NOTHING to improve your quality.
Here is our work flow with XDCAM and ProRes…
Edit on a XDCAM time line with native XDCAM files…then set your user preferences in FCP (under the Render Control tab) to render to ProRes, which speeds up the renders greatly…. Then trans code everything through Log and Transfer that does not originate in XDCAM, like 5D and 7D to ProRes 422. Which, by the way, edit quite nicely, and in real time on the XDCAM Time line. Then when we send this through Color for grading we set color to render to ProRes 422 and now when you send back to FCP your final product is a nice neat ProRes 422 final master sequence.
This is what we do to end up with ProRes 422 master and has worked for us quite well. We have used this workflow for 7-1 hour national shows and countless smaller projects and it is always flawless, and all without the extra steps in the beginning…. It should give you the final results I believe you are looking for.
Hope this helps.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Another thing to consider is that the 5d does nt shoot 60p where as the 7d does…. If you want to over crank, this is a critical essential for us….. And as said earlier, the 5d does not put out an HD signal through the HDMI while recording and the 7d does…sort of. Also when considering gear, you must have an external hd monitor (if your serious about focus) it really makes all the difference…. And a Z-Finder (loupe) for when you are shooting hand held. Those two things alone will run you about $1500…. that, with the 7d, extra batteries and a few lenses and you $4000 will be eaten up before you know it…. Plus some!
Then there is the rail system and follow focus, again if your serious about focus….. DSLR lenses have a notoriously short focal range (amount the ring spins through the focal range) vs cine lenses…. A real pain w/o a follow focus…. Actually a real pain with a FF!!
My advice would be to go with the 60d and use the rest of the money to built “the essentials” to your DSLR rig, and THEN, once you have all of that, make some money, upgrade your camera body(s) to both a 5d and a 7d so you have both…. They are different cameras and shine at different things….. The right tool for the right job.
Now that all of that has been said….. You could just go out and get an AF-100 for just a little more money…. Once mine arrives I will be dumping all the DSLR gear, minus lenses of course….. cause damn, it is a pain in the ass to shoot on…. No matter how you dress it up, it is just not made for professional cinematography….. But the images can’t be denied if you know how to use it and can put up with all the challenges and limitations.
Just more opinions…. Really up to you to decide what is best for your needs.
Good luck!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
You need to set your sequence to match you footage in FCP. When you drop your first clip in the time line, FCP should tell you that “the sequence does not match you file format, would you like to change your seq to match your video” (or something similar to this, anyway) Click yes and no more rendering…. unless of course you are trying to put a non supported file format into the time line, then you would do best to trans code everything to ProRes first and then import and edit from there.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
IMHO, our take on RFPs is this, we just walk away…. Just not worth our time…. This may seem a sour attitude, but the reality is this: If a company putting out the RFP is only concerned about the lowest bidder, then they get what they pay for and they deserve what they get.
You would be best to develop a relationship with a creative shop that does excellent work, one that you trust. The PAY THEM to produce a video for you. The lowest bidder very rarely works to the clients advantage…. I leave you with a short, but true story….We spent close to 40 hours over the course of a six month period developing a concept with a potential client, a state agency. Every one was excited. They came to us SPECIFICALLY because they saw our work and said “WE WANT THAT!!!” They said that they really wanted to proceed in this direction “stylistically” and they were convinced that we were the only house that could accomplish this specific look, so we developed a solid concept with them for a highly stylized video to promote said agency. It was all a go. I even threw in some extras to sweeten the deal for them… and just as we were to sign the contract, they said “…oh, looks like we need to put out an RFP but don’t worry, we want you to do the video, we just need to jump through the hoops”
So when we received the RFP from my “friends” at said state agency, I was surprised to see that their RFP was literally a “cut and paste” of our original proposal, right down to the payment terms, the little “extras” we proposed to sweeten the deal… even the time line we proposed!
So, we sent in the response to the RFP with the numbers that we had discussed… I think it was about a $20-$30,000 project. Not huge, but certainly not chump change… We get a response three weeks later… They had decided to go with another company and thanked us for submitting…. my jaw hit the floor when I saw that the winning bid had underbid us by $1200.00….What did they get for their $1200 dollar savings?… a video that was 6 months late and stylistically not even CLOSE to what was originally discussed. I don’t even think they shot it in HD!! Not to mention that the video was never used for its original intent. We never did see it once anywhere that we had discussed for distribution and exposure… and I will leave you to imagine why the video was never used.
But it seems that they got the video that they deserved.