[Robert Withers]

Thanks, Glenn.
Yes that’s what I wanted. To export still images, otherwise known as freeze frames in other software and film lingo.
I should have searched for freeze frames in the manual.
Got it done in Premiere, maybe more slowly.
Cheers,
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Oh, sorry. I see there’s a Blackmagic Design and a separate Davinci Resolve forum.
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Hi Philip,
What OS did you install on whatever machine you’re using? (What is that machine?)
And what OS is on your Macbook?
I hear Adobe has been limiting access to earlier apps but others will know more about that than I.
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

To this mildly untutored eye looks beautiful at certain moments similar to standard 24-25 fps play back. I think your editor has done a great job.
R

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Wow, has Adobe stopped supplying installations of all previous versions of Permiere or just 2017. It’s getting more and more difficult to work with Premiere. What about related vintage software, like AME? I don’t need 2017 — still working with 2013 and 2014. Are these now hard to get? What are good, stable, versions of Premiere that are still available?
Thanks,
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Hi Aaron,
It sounds like you are planning to use the two mics so each can serve as a level safety or quality safety for the other. This is a common practice. Whenever I’m doing stuff like this that I don’t do every day with equipment I don’t use every day I study the Zoom Recorder manuals and play with the controls and cables.
There are standard guidelines for setting levels -that you can read about everywhere, i.e. NEVER go above 0 dB AT ALL with a digital recording system. – if you don’t have a sound person to watch levels and check recordings you can do a couple of rule of thumb levels with one set 6-12 db higher (lower) than the other. Your sound person would be listening to mic quality of each set-up, handling the set up of the lav and the cardiod mic etc. — the little things that make a different between quality and useless sound. Consider a slating system and record directly through a camera mic to facilitate syncing.
Cheers,
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Hi Varun,
This is a partial answer because I haven’t used RAIDs either.
I can’t tell from your description exactly how you plan to use a new RAID drive and the 3 external drives.

Keep the 3 external drives as a source for footage and use the RAID drive for new projects and caches?
Editing speed would be dependent on speed of access to those drives.
Transfer all the footage to the RAID drive and keep your external drives as backup?
That would be the fastest option for editing, using a Tbolt connection.

My opinion is that it’s good to buy into the highest speed connections possible so get a RAID with Tbolt connection.

You can use adapters and hubs to access legacy drives.
I do have experience daisy-chaining G-tech drives with Firewire 800. Access gets slow the farther out on the daisy chain you go.

Right now I keep a vintage MB Pro to work with vintage NLEs, using Firewire 800. With my new MB Air, I use a hub to connect my Tbolt machine to daisy-chained Gtech drives. I
Or USB 3 directly to the macbook air.

I’ll have to get a new macbookpro before long, will gradually switch to Tbolt drives for editing and keep the old Gtech drives for backup.

You must need a lot of backup space for your doc.

Best,
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Like Marc Wielage said. Transcode the phone footage to establish new footage with a constant frame rate. You could possibly transcode to the codec the Sony shot, or both to a standard mezzanine editing codec like ProRes or DNxHR. Phone footage works fine in movies but you have to transcode it unless you shot with a certain special movie app.

Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Hello Sue,
I’m interested in your issue because I plan to digitize a bunch of Super-8 films. I assumed I would have to live with black “pillar boxing” bars on the sides of the screens because I’ll want to footage distributable in HD. Are these the black bars you are talking about? I don’t understand “output blanking at 1.33,” — what’s that?

Best wishes,
Robert

Robert Withers

Independent/personal/avant-garde cinema, New York City

[Robert Withers]

Hi Mark,
There are probably many ways to make it different but I don’t think there are any of making it better than the integrity of the 4:3 ratio of the original movie image. Think of any classic photograph or painting — one can always make it different.

I heard that wide-screen movies used to be re-processed for distribution on 4:3 TV screens by zooming and panning within individual shots to reframe compositions in order to fit the different ratio (“pan and scan”). This would seem to be fairly labor-intensive, and perhaps not always successful. From the point-of-view of some producers and distributors this might have been considered better. From the point of view of others, it would be considered a deceptive concealment of the nature of the original. I guess it could be done in reverse, panning and zooming to try to find wide-screen compositions within the 4:3 image.

Of course exhibited films have always submitted to the vagaries of each individual theater’s available masks, screen sizes, and drapery. We are now at the mercy of streaming sources and TV manufacturers who modify cinema images to produce different results that may be rather different from what filmmakers intended.

Best wishes!

Robert Withers

Independent/personal/avant-garde cinema, New York City