Russell Lasson
Forum Replies Created
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LTO is really an industry standard. If you can afford it, then using LTO-4A is really nice. The Cache-A products have some really great features.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
I’d suggest an 8-core Mac Pro. Any of them will work. I’d go with 8-cores because there should be updates with Snow Leopard (10.6 shipping in September) that will make things faster. Also, the Mac Pro is the easiest way to put something like a Decklink card in.
Final Cut Express won’t work for you. It’s quite limited. For example, it doesn’t support 23.98 formats.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Closest thing I can think of is using Soundtrack Pro’s built in effects.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Aaron D Hose] “We’re trying to get the 60i to convert to 24p”
You should try using Compressor. Play with the frame controls.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
You should open a clip in Color. It’s really a great program for doing…. color.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Eli Mavros] “Playing the devil’s advocate here, but say I had the film xfered to 30p, could the spot be finished progressively and then I throw it in a 29.97 HD timeline (upper fields first) and things would be cool? “
If you shooting film at 24fps, then you’ll want to have it be progressive when you bring it in for compositing. Adding a 2:3 pulldown is standard practice when making final masters.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Definitely looks like I’m behind the times on super slow motion cameras. Thanks for listing the other cameras!
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[gary adcock] “[Russell Lasson] “f you’re shooting with both film and the Phantom, I would suggest trying to get the best master you can.”
careful
best quality on a Phantom .CINE file is way beyond FCP. (some phantom cameras shot 16bit raw) “Gary brings up a great point. There are several ways to process Phantom files. Some are very processor intensive. It could bury your project very quickly depending on which way you try to process your footage. If you’re not comfortable with the workflow, you should really consider hiring a consultant or post house familiar with the different workflows.
Or you can do it yourself, but if you do, I strongly suggest that you test the workflow before you shoot.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
I would suggest that you use Compressor to make ProRes SQ files in standard definition. They’ll run fine on an intel laptop with a FireWire drive. Plus, Compressor will compress them quite a bit faster than the media manager. Just make sure you keep the names the same.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Double check to see if the audio output is set to just 2 channels in the sequence settings.
Do other audio files play fine in your timeline right now?
Try using iTunes to convert them to 16-bit 48k files.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net