Sam Cole
Forum Replies Created
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Send it to ‘Color’. Use the Luminance curve and pull the top 95% down while leaving the 100% where it is. This will allow you to ‘stretch’ detail out of the overexposed area.
Then maybe some secondary correction to put a bit of blue in the sky.Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
. . . and wouldn’t it be just dandy if they improved their audio timelines by having routable audio channels into subgroups, naming conventions, layer filters etc. Hmmmmm would that be like merging STP within the FCP app?
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
Its not like Apple need the money to sell FCP off.
And when we moved from Adobe to FCP we went and purchased a whole range of Apple hardware – right down to our iPhones!
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
thanks for your input Michael
Next question – what is available as a Multi video codec (MVC) for creating blu-ray from the 2 streams from FCP?
(the questions are getting tougher)
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
Set the deck to reference to the incoming video or genlock the deck and the FCP interface to the same source; preferably a SPG’s colour black.
It is not a tracking problem.
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
We have this problem often and we worked it out to be and FCP error as there were never any timecode breaks.
It happens more often capturing as ProRes HQ, as the CPU workload is much higher and I guess it just misses a timecode frame from the RS422 serial data.
There has to be a setting for FCP to allow ‘how many continuous frames of timecode irregularity’ before the error is reported – but there is not.What we do after each capture is select all the captured media and select ‘tools’ >>> ‘long frames’ >>> ‘mark’ and then check there are no dropped frames.
Then, if timecode is crucial, we find a ‘known frame’ near the end of the tape (eg a cut) and compare the captured clips timecode with the tape to ensure they are the same.Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
As I understand it the ‘desktop’ monitoring was removed from Blackmagic drivers because it conflicted with the Apple ‘Color’ Application.
I think it will become a feature again when Apple fix it at their end.
But as reported by many people it was a great feature.Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
Make your show and then send the master for a professional QC.
Then be prepared to do all the fixups.This is an ever increasing problem nowdays with more and more people editing on small systems at home etc. The last thing they want to be concerned with is the technical aspects of their production.
My company specialises in the area of ‘fixing up other peoples mess’. And there is a lot of it. Gamet errors, out of spec audio, blanking irregulatities, bad colorgrading; the list goes on. But there is money to be made just doing the boring fixups of other peoples oversites.
We always make masters to BBC spec because they are the worlds hardest to meet and if it is OK for them it will be ok for the rest of the world.
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
We do this often with PS 3. Unfortunately not all games are 1920 x 1080.
So we use an Extron HD scan converter to get it up to component 1080HD and then feed it into a Blackmagic Multibridge to convert it to HDSDI and embed the analog audio out of the PS3. Then we can record it onto tape etc.But for an Intensity you will need a component to HDMI adaptor.
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
We here make a living out of transfering XDCAM HD and SxS memory cards to HDCAM so it is not an unusual workflow considering its transferring 21st century technology back to 20th century technology.
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia