Robbie Carman
Forum Replies Created
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I’m a big fan of the Cinema Tools route since its pretty much instantaneous. All you do is open up a clip(s) in Cinema Tools and the press the conform button and choose the frame rate you’d like to conform to (in your case 24). And Viola you now have a slow-mo clip. What’s really happening is the frame rate tag in the header of the file is getting changed. For safety i.e. pain in the ass factor I’ll usually duplicate the clips I’m going to conform so I have the original and the conformed clip. Yes you could always open up a conformed clip and re-conform it back to the original frame rate but drives are cheap I don’t care about duplicating media. After conforming I’ll just add (using automator a _24 tag to the end of the clips I conformed to keep it straight in my workflow. Finally, it sounds like you know this but your audio will also be conformed if there was camera audio with the file.
Robbie Carman
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Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
I have both the 1.4 and 1.2. I was drawn to the 1.2 because of an obsessive case of techno lust. I love the 1.4 can’t really find fault with it except for things it just wasn’t designed to have i.e. larger focus ring with more throw. I have mixed feelings about the 1.2. Its much better built, more ergonomic i.e. larger focus ring and slightly more throw but I was expecting it to be loads sharper then the 1.4 which its not. From 1.2 to 2 I think the 1.4 is actually sharper (obviously with the 1.4 it can’t open to 1.2), with that said you can’t beat the low light capabilities of the 1.2 and the extreme bokeh that it can produce. Speaking of the bokeh its superb but keep in mind, wide open and close to a subject I’ve found it near impossible to get sharp focus using the camera LCD with a viewfinder since the focal plane is soooooo shallow I have to rely on an external monitor (higher rez and with focus assist function)
So all and all the 1.4 is a real winner, personally I would skip the 1.8. And now that I have the 1.2 I can’t really say its worth the premium over the 1.4 for many shooting situations.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Arthur Lunn] “I’ve read that it is strongly advised that one avoid a simple viewfinder that simply magnifies the pixels.”
I wouldn’t say that. I have a zacuto z-finder pro that I think is a super valuable tool. With that said companies like Red Rock and Zactuo are coming out with electronic viewfinders that connect to the HDMI out.
Another option is a small LCD field monitor. Besides a bigger higher resolution screen you get a lot more features such as a range of connectivity, scoping, etc. Marshall, Small HD and others make good options for field monitors.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Ronald Anderson] “Drop Frame time code is coming very soon”
Yes that is that is what I’ve been hearing. Hooray!
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
yes that’s what I meant generic has been working for me without problems
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
yep that has be 100% my experience
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Michael Cinquin] “- DaVinci clips the super-whites of quicktime files. Only solution I found in those cases is to do a full to legal using Color”
in the config tab did you choose to use Full Range instead of scaled video for monitoring and output to tape?
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
awesome!
I love these DIY solutions! Couple questions: Is the track linked or is just the two separate pieces of aluminum? What’s the stability like with a longer lens? Also in the table top shots without the track it didn’t look like there was a lot of room between the horizontal wheels. Is the platform big enough to handle a bigger body and or rails with matte box etc?
Good job!
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Norman Pogson] “It’s quite clear, he put a period and then said”
sorry! I never claimed to be a good typer!
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Richard Harrington] “You misread Robbie’s statement…”
Thats correct Rich, Norman I was simply trying to make the analogy that placing sensor data into Y’CbCr is essentially the same thing as putting that sensor data into sRGB or Adobe RGB
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion