[Rich Kaelin]

Eric,
I was going to post a very similar question, but searched first. Well, your video is no longer available, I’d love to have seen it. I just got a call today from a client that wants to accomplish this “old silent film” effect. Did you end up shooting at 60p bumping to 90 and playing at 30? Also, and forgive me I am traveling and on my iPad unable to check premiere or after effects, how did you create the film scratches and dust? I would assume there is an existing effect or plug in, no need to reinvent the wheel. I might also like to add a couple of rough splices. I am what I would describe as a high level intermediate user, so I could likely do all from scratch…but like I said, why reinvent if there are some existing resources to tap. Any insights from your experience are appreciated.
Best,
Rich

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

But I don’t see the timecode on playback either. I see embedded audio, but not timecode. It is on the files when I bring into NLE, and it all matches. I just recorded a 5 cam shoot with iso’s and a live switch. Needed to clean up a bit, all TC matched perfectly. and the LTC output does output TC while recording…but this may be an E-E loop. Do you need to set something in a menu to get TC embedded into SDI? I think this is why Ki Pros have their own built in character disply that shows TC and record status.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

It am a bit confused. We have 8 ki pros, and the LTC inputs do seem functional, at least as loop throughs, while recording. We use an external TCG and daisy chain with no problems. I have considered a DA, but this works so why bother.

However, I cannot get that time code out embedded into the SDI. Exactly what menu setting # is that? I have looked in the manual, and it does not seem to have a separate menu setting for what is embedded on the SDI output, but above it seems like you can select what is embedded into the SDI, or am I misreading Gary’s response? Our monitors will display audio levels and time code from the SDI input, and I see both from cameras or nanoFlash devices. I see only the audio from the ki pros, which is from XLR, not embedded on input. The time code does not display, although it is on the Aja display and in the recorded file, it does not seem to embed into the SDI output on either recording or playback. Is there another menu setting for this that I am missing?

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

No, I have not solved it, except to add a level filter to nested clip in premiere before exporting. I think it is h264 encoding…whether it’s an MP4 extension or an .mov extension same result…also, same result in squeeze…but in squeeze i can add a filter directly to offset it a bit. Not a perfect solution but it works. The stuff compressed by either program is destined for web only use, so quality is questionable at best. I would love to hear some more reactions and thoughts on this, likely someone will say I am crazy for doing it that way, but it’s the only solution I can devise…and for the web it’s more than fine. Get the job done and move on, if it looks right, it is right. The other issue I have is, as stated above, monitors…the same video on one monitor to the next will look different. My Apple monitor tends to have deep blacks, while my Acer is more washed out, me my dell is different yet. Apparently NTSC is still with us, if only as an amusing acronym.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

I HAVE THE SAME ISSUE AND IT HAS NOTHING TO DO WITH QUICKTIME. I HAVE A FULLY EXPORTED .MOV FILE, I CONVERT TO .MP4 IN MEDIA ENCODER, AND IT IS DARK. I CAN OPEN THEM SIDE BY SIDE IN QT, PREMIERE, VLC, WHATEVER PLAYER I LIKE…THE ORIGINAL IS BRIGHTER THAN THE CONVERSION. I HAVE BEEN TRYING TO SOLVE THIS FOR YEARS, BECAUSE I LIKE THE PROGRAM OTHERWISE.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

Thanks, I figured it out, so for anyone looking I’ll post this. Skip to last paragraph for the quick answer.

FCP sees the clips equally, and they are both supposed to be the same codec, but there are minor differences. One, the camera records a 16 bit stereo locked audio track *(a pain when editing and lav is on A!, boom A2) NanoFlash records 2 separate mono24 bit audio tracks. There is also some difference in how QuickTime seems to see the clips, I have attached pics. Again, the 24 bit is Nano, 16 bit is camera.

The problem seems to have arose on sending to AE. I noticed the the linked comp created for the NanoFlash stuff was the clip, with audio (although I did not use the audio from comp, used original in premiere.)

The linked comp crated for the camera clips were “nested”, so it essentally created 2 comps, one named “limnked comp-24” or whatever,which then contained a comp named “clipname”. when I open that comp, the original clip is there, no audio at all.

So I found the clip in project, and under “Interpret Footage” the nano stuff had upper field selected, the camera stuff was set to fields off. Once I switched the camera stuff to Upper all was fine. I am a bit confused as to why AE did this, but there you have it.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

That is what I did originally. The other suggestion works well and is quicker. no need for cross hairs. Thanks.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

Are you referring to the scratch disks? as I said I set my scratched discs to the a to external drives. the really odd thing is I can’t see these files at all anywhere but I saw them taking up space. I watch does the counter continue to climb and the disk space available dropped. I understand how premier works but are there other cache files that I’m not aware of that do not go on the scratch disks?

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

I would be interested in why. What is so different? Screen shots look like standard editing form. I could not get iMovie at all, and everyone says it is like iMovie. I thought hat interface was counterintuitive. But I think motion is counterintuitive because I prefer AE. And no, we are going to work in 7… But 7 is dead, so it’s move up or move over. I have premiere cs6′ just does not work as well. Does anyone know how to throw program window to external monitor playback in PP. just curious.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York

[Rich Kaelin]

There is a 3rd party app that let’s fcp7 projects open in fcpx.
https://assistedediting.intelligentassistance.com/7toX/
Don’t know if its the only one. It is really cheap and from all I’ve heard it works.

Rich Kaelin
Kaelin Motion Production Services
https://kaelinmotion.com
New York