Sascha Engel
2
Audio Coins
11
COW Coins
4
DaVinci Coins
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Premiere Pro Coins
Forum Replies Created
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Hi Glenn,
no, actually the offline was a ProResHQ full res export.
What kind of FUSION connect clip you referering too?
Doing the Motion Blur over the Fusion Tab?Best,
Sascha
Sascha Engel
KINO KITCHEN Studio
http://www.kinokitchen.co.il
http://www.youtube.com/taikang -
Hi Marc,
That was of course my first attempt.
But it’s a relatively slow tilt, so even bumping it up to 80/90 did
Not show any results.
Also tried to set the resizing for this clip to smooth instead of sharp.
Nothing.
Very annoying since the same camera movement in the offline
On AVID rolls buttery smooth.
Can’t imagine that an online tool performs so lousy compared to a NLE.Best,
Sascha.
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Hi Andi,
Me neither.
All the DCPs I made here in Israel for the Cinemas & Festivals always played.
When I made some DCPs of my film for Das Hamburger Film Fest und ein Kino in München, also there 25 SMTP,
and also 25 InterOp weren’t an issue.I think, slowly all Servers updated to SMTP. There’s probably not many reasons anymore to make a Interop as well, right?
I kept the bitrate on 175MB/sec, since I wanna be on the safe side.
The film contains a beautiful analog film grain overlay, but i guess, this bitrate is sufficient even for that.
I also make the client usually 2 options when it’s HD Film: One a 1080p version of the film inside a Flat (1998×1080) container with vertical Letterboxes. And also: I upscale the entire film in AE to 1998×1080, to make a true size version as well.Best,
Sascha
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Thanx for sharing the test.
Btw. I am still wondering about the ideal Bitrate, when creating a DCP, specially with DCP-o-MATIC:
It’s always said, that you should not go to the max of 250 MB/sec,
That’s why I did my feature e.g. In 175MB/sec and it was a 2K DCP – looked great on the big screen.
I simply was afraid, that in cinemas with old Servers, it would jump or Glitch.What’s your guys’ experience regarding the maximum safe Bitrate?
And also: I often make for clients an Interop and SMTP Versions, since SMTP is the more actual one,
But apparently there is still places, that can only play Interop safely.
What’s your take on this double strategy? Overkill?Best,
Sascha
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Actually, I tried it and true: Plays back pretty good. No crashing at all.
Only thing I noticed in my tests, that the DCP from DCP-o-MATIC seems to be quiet a bit brighter than the ProResHQ Master.
Wonder why. Never happened so far.Sascha Engel
KINO KITCHEN Studio
http://www.kinokitchen.co.il
http://www.youtube.com/taikang -
Thanx, but that doesn’t let me do, what I intend to achieve.
LUT seems to be the only option right now, but not really ideal.Sascha Engel
KINO KITCHEN Studio
http://www.kinokitchen.co.il
http://www.youtube.com/taikang -
Where you find the HardClip option? SoftClip I know, but I seem to find the other one.
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LUTS are, but unless it’s a very specific one, it’s not so helpful. It’s a bit shooting with a canon on a bird.
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Thanx for the info.
You have a link to this app?Best,
Sascha
Sascha Engel
KINO KITCHEN Studio
http://www.kinokitchen.co.il
http://www.youtube.com/taikang -
Hi Jeremy,
Yup, that was my thought as well.
It’s just annoying: After a period of sheer hate, when Apple released FCPX and killed 7,
I actually grew into liking and appreciating it quiet a bit,
but the fact, that it’s creating a true mess when it comes to XML info about re-sizing and re-position stills,
makes it a nightmare for documentaries (like in the one I online now, there is more than 60 Stills inside).
Apple should really fix this….amongst many other things.Best,
Sascha
Sascha Engel
KINO KITCHEN Studio
http://www.kinokitchen.co.il
http://www.youtube.com/taikang