Russell Lasson
Forum Replies Created
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If the tapes have timecode breaks, then wouldn’t FCP abort the capture or make a new clip when it happens? You can’t have a QT file with timecode breaks in it. So you’re either capturing without timecode or with timecode breaks and making new clips. I’m not understanding why you need to replace the timecode.
But if you did want to do that, you could also try to figure out how to get Automator to remove the timecode track of those files. Or the other tool from video toolshed that someone else mentioned.
Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
It certainly looks like an interlacing issue. I’ve seen similar issues when scaling interlaced footage. Double check your footage resolution and make sure the sequence you’re editing in matches. Your footage is HD, but you’re editing in an SD timeline? Is that right?
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
We use Neo3D. It has an option to auto import all the Panasonic 3D footage into one muxed file (Right Eye/Left Eye). Works really well. Neo3D isn’t cheap, but it’s well worth the money if you ask me.
Dashwood has some ways of managing 3D, but they’re much more difficult to create a workflow around. Not saying it can’t be done at all, but when compared to Neo3D, it’s not nearly as slick.
Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
So the setup we’re going for with this is HDSDI – HDP2 – DreamColor. With the calibration software I couldn’t think of anyway to set it up so it would calibrate from the HDSDI path. It’s really not as important for what I’m doing either as I’m trying to set up the monitor as full color range (not DCI or Rec709) and then let LUTs from CineSpace do the transformation to whatever color space I need. I can apply these LUTs right out of our color system or using a LUT box like Davio or the HDLink Pro.
So the monitor get’s stuck in the USB error loop when it’s connected over DVI to HDMI. When I connect it over DVI to DVI, the error goes away. I’ve tried calibrating it several times, but the white balance still looks a little green and our colorimeter reads it as a little greener than it should. It also looked a little too green out of the box with factory settings too.
Color management can really bite sometimes!
Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
I don’t know if this helps, but I just recently had a similar problem with a DreamColor. On Windows, if I connect from the graphics card DVI into the HDMI port on the monitor, then when I try to calibrate, I get the endless USB loop error saying to connect a USB cable to the monitor, even though the USB cable is connected and the computer sees it using the HP Display Assistant.
If I plug the monitor in using DVI to DVI, then it sees it. I didn’t change anything on the computer.
But another issue that I’m having is that the monitor isn’t calibrating correctly. The white point is shifted to a green hue. I put some footage up when I first got the monitor and it seemed way to green. I used an X-rite Hubble to read the white balance (with a full screen 1023, 1023, 1023 sample) and it isn’t reading what it should be.
Here’s the numbers that it read. The first set are what the monitor says is the target for the setting. The second set is what is actually read out on the Hubble software.
WB – 6500 – actual 6225
x .313 y .328 – actual x .319 y .322RED x .686 y .308 actual x.6910 y .2975
BLUE x .145 y .045 actual x .1274 y .0464
GREEN x .206 y .715 actual x .232 y .7028My eye is telling me that something is off too.
Anyways… any suggestions?
Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Non-tape-based cameras do not have a Log & Capture functionality. You would need to use a capture card of some sort to capture into the computer over component or HDMI. There are a lot of good options out there.
Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
So I must say that after reading your post, I though you misunderstood what I wanted to do. But trusting in the Cow, I thought that I’d give it a shot.
Sure enough, it work! Why in the world would AVID put that menu there? It seems like it should have it’s own menu command that is separate from relink media on disk.
Thanks so much for your help!
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
[Shane Ross] “They have over 300 partners that make their product great. “
It sounded like, “Our product is so great that we don’t even need to work on it anymore. We sucker our 300 partners to do it for us!”
I was comforted to at least see Sr. Product Manager Steve Bayes talking about FCP though. I guess he wasn’t one of the 40 FCP employees that were rumored to have been cut from Apple.
In all reality, this NAB did more to firm up Apple’s stake in FCP than prior years. Apple is now licensing ProRes to other developers. The ARRI Alexa camera records to ProRes. Clipster DVS on Windows can now encode ProRes. AVID, Premiere, Vegas and other can now all edit ProRes. This either means that Apple is unloading anything that they feel like they can make money on (ProRes) or they think that the world can revolve around FCP/Apple. From Steve Jobs reputation, I’d bet on the second.
I still hope that FCP is in for a 64-bit rewrite coming up soon. We’ll see. And for all of the people that showed up at the Renaissance hotel for Apple’s announcement, they moved the announcement unexpectedly to the Hilton tomorrow at noon.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Both companies are good.
[Bill Thomas] “It seems to have similar specs and supposed to be fine for DVC Pro-HD (which is what I edit in).”
You could edit DVCPROHD on a single drive without issue.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net -
Problem with the iMac is storage and video I/O.
Storage is limited to either internal storage on your boot drive or FW800. There are still many more options for a Mac Pro.
Video I/O, if you want to actually monitor the broadcast signal, is limited to just a couple of products where as the Mac Pro has several different options.
But the i7 iMac is a pretty good computer for the money. I would still suggest a Mac Pro for expansion mainly, but it all depends on what tool you want to use for the job.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net