Ryan
Forum Replies Created
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Black the tape before going on a shoot and use the “Regen” timecode setting. The only sure fire way to avoid timecode breaks.
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DFT Composite suite – Defocus
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The D5 decks that most places use are Panasonic decks that already have that codec built in. So I would say that DCProHD is already here.
I worked at a place that was running the panasonic deck 5 years ago.
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My bad, I didn’t realize he was only horizontally stretching his footage.
To correct my previous post, you cannot just do that.
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What Matte said is the best advice you will ever get. As a broadcast engineer, I have to line up content for two stations. We check the bars and tone. Then find what appears to be the brightest and darkest part of say a commercial, then we raise the blacks so they don’t go under 0 IRE, and lower the whites so they don’t go above 100 IRE. Audio is set with a combination of a dialnorm meter and a VU/ppm meter.
The volume of content that is ingested in a day prevents us from being able to ride the levels through-out, so we adjust for the maximums. In a perfect world there should be no adjustment after setting to bars and tone. But I have seen some wacky ass levels from the highest end of commercial productions houses.
But hey, that is where “Never Twice the Same Colour” came from. Everyone has a different generator for bars and tone.
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Time-Remap and Levels will get you some hand crank. Set your footage to speed up (to simulate the the camera slowing down and vice versa), then set your levels to ramp up at the same time, bring the black level up but bring the gamma up more to really blow out the footage.
They also used double exposure for some of the shots. You will have to experiment with blending modes combined with opacity levels.
Unless you do it in camera you are going to have to do it in post to all the shots for which you want the effect.
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Matrox/Premiere, lowest cost realtime 10 bit uncompressed HD editor.
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Why didn’t it work?
Another option is to create a pal comp that has the correct width and a height that makes the comp 16:9. ie. select the HD preset comp, then lock aspect ratio and change your width to 720. Then drop your footage into that comp and upon render, tell after effects to stretch the footage to the correct height. That will make your footage anamorphic.
Don’t forget to check your comp with the aspect ratio preview on.
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It is that simple.
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As long as you stick with the DV25 resolution you are stuck with that sampling rate.