[Rumpot]

I can not edit this, I’m gonna move it to FCP forum, prolly more appropriate.

Regards

_Eric

[Rumpot]

Yes, that is what it reads. I am having a hard time understanding why FCS2 would export it as that. And if my settings are for that in AE, why all the fuss? I just thought if I export a native timeline seq, I could expect AE to do the same with the settings. Why would FCS2 export it as 1280×720(1.33), when its working in 960×720(1.33), one would think if its gonna that, it should @least make squarePX.
More confused then ever…..

Saw yr other post, I’m still on AE7 and cannot import so I haven’t seen the color issues, yet. I just wish stuff would play nicely together, or @least do what it says it would do…

Regards

_Eric

[Rumpot]

The green screen stuff will be the same lights and such, but its just the outdoor footage I’m worried about. It suxs to get to telecine only to realize your lenz had a a UV leak, film after you buy, clean , develop then telecine is adding up quick$$$$ specially when you can’t tell in the field. Lots of shots to redu, and hoping I can match this..

Thanks

_Eric

[Rumpot]

That is good to know…I did call one vendor and the same thing happened you described, they were out of stock, but had “professional” packages available for the regular price. What is the difference between the import models and the regular ones? You would think they are all made in the same place(Taiwan or Hong Kong), why are US ones much more expensive?

I guess I’ll need to save some more and get a us one..

I guess the old saying is true, “If it seems to good to be true, it is!”

Regards

_Eric

[Rumpot]

Is there a difference in models that I see online? I have found prices that range from $2000-6000. All claim to have a full US 1 yr warranty, or is this some type of scam. I was looking @ Broadway photo( https://bwayphoto.com ) they list it @ $3125.

Regards

_Eric

[Rumpot]

Thanks, thats good to know, I was just wondering if they were gonna drop the price of the camera, cause of some new model or something. But it seems a good deal now, well till tomorrow to get a 8GB card as bonus.

Regards

_Eric

[Rumpot]

Good to know, thanks.

Our camera is old school(late 70s) Russian made 35mm, so no such luck with vid assist

Regards

_Eric

[Rumpot]

Thanks again for the responses Chris.

I’m pretty sure they were using a better monitor, some pro one, and they would switch views between the digibeta output and the images coming from the divinci.( I use a 23″HD & 20″HD apple displays)

As far as flat, we really didn’t know any better. This was our 2nd session and first attempt @ green screen. So we asked for something ‘basic’ and we could sweetin in FCP.

Im not sure what ‘video assist’ means, we are amateurs and trying to learn as we go, do you mean use a camcorder as were shooting to get an idea? Thats why we were only trusting the light meter as we wouldn’t know what we got until we get it developed. I had noticed the sheen from the paper, but thought that could be easily removed with a rough garbage matte before I start keying.

I did ask the engineer, but said he had no keyer in that suite we were in, I also asked for colorbars on the transfer but didn’t get those either. The colorist said I should be able to get a good key, but for us ‘little guys’ I’m sure they say whatever.

On most shots we did take a few frames with ‘no talent’ then added the talent, I hoped that somehow this would help, so thats good to know. I’ll have to play around keying the empty pass first, then try that matte on the subject one

Thanks for taking the time

Regards

_Eric

[Rumpot]

Thanks Chris. Thats what I was afraid of. Although this was the worst case of the footage we shot, I guess we need to find a better way to shoot, and unfortunately we had to wait and see untill we could get $$ for telecine(I will say it looked cleaner @ the telecine house, could the digiBeta conversion effected the green lum?)

I guess we should go around the green screen with the light meter, for these shots we just took readings on the talent, measured the distance, set the f-stop and distance rings accordingly and started filming. I dont mind bout the shadows as he’ll be in a cave, so some convincing volumetric lighting should work.

Any other tips on setup would be great. We started with fabric, but it was absorbing to much light and had alot of wrinkles, so we switched to paper. We are using 4 250s from the ceiling to light the screen, and 2 1000’s off bounce boards for the talent.

If the final output of the project is DVD 480p should I de-interlace now, while editing?

Thanks Again

Regards

_Eric