Scott Sheriff
Forum Replies Created
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[Joe Martino] “It’s progressive. All 1920 x 1080. All 29.97fps”
This is insufficient.
How about you give us a break, and not make everyone play ‘twenty questions’ in order to help you.
I have a pretty good idea of what is wrong, and I don’t think it’s necessary to go through AE either.
But without this info:
1. Source footage codec.
2. Sequence (timeline) settings.
3. Exact workflow from FCP to DVDSP.
Without that, it’s all a guessing game.Don’t take this the wrong way but…
You could also go to the DVD Studio Pro forum. The FCP to DVDST isn’t all that complicated. Between RTFM and reading some of the postings in the forum, you could probably figure this out pretty easy.Slightly OT
I’ll second the opinion that poor spelling (onscreen) makes you look like an amateur. Much quicker than poor editing does.
Spell cheek doesn’t always get it wright. A good rule is two never proof reed you’re own work. A second set of eyes will often catch things you have seen a hundred times.
See what I mean?Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
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[Craig Shields] “That last line requesting them to sell it by a certain date would keep me from signing that petition.”
No offense, but are you afraid of apple? Everyone talks about how arrogant apple is, and how they don’t listen. Maybe it’s time to smack them with a rolled up newspaper.
[Craig Shields] “You wouldn’t be happy if they added the missing features and improved upon what’s there?”
No.
I paid a lot more for FCS2, and they haven’t finished fixing that yet. And then there is the whole pulling of FCS3 thing. So no, no and NO.[Craig Shields] “As bad as it is, I don’t think it takes a lot to fix this problem.”
If that is the case they could have had a Q&A at the NAB Supermeet with a hands on demo. They had a room full of professional users whose opinion could have been invaluable. In the period between the demo, and release they had plenty of time to address at least some, if not all of this. Or they could have waited to release Movie Hero until those concerns were addressed.
Of course that is under the working assumption that they need the professional community for anything other than a prop in their adverts.[Craig Shields] “It’s more about how fast they can do it and how they address the professional community. At some point, there will be a statement from Jobs about this. What he says could put a lot of concern to rest IMO.”
It is already too late. Over. Done. Kaput. The world is no longer moving at typewriter and FAX machine speeds. Walter Soyka was right when he said apple was burning their built up goodwill. After 7 days, the fuel is gone. The tank is empty. Except for a half dozen or so vocal fanboys and apologists, they have ‘lost the room’. They have lost long time users and supporters, vocal proponents, and even some of the fanboys. They have lost little names, and big names. The wait and see types, the optimists, all gone too. And of course the skeptics were lost at the demo.
They have created a firestorm that is no longer contained in our small little clique’, and is being reported on in the mainstream press. Media savvy consumers that may have never heard of FCP, now know that professional are saying “Final Cut, it’s not for me”. Well, so much for using the pro user to sell to the pro-sumer.
Jobs had his window of opportunity, and he blew it. He might as well stay silent.Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
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[Chad Nickle] “I agree, the way this thing is worded is horrible, petty nonsense.”
I agree it’s poorly worded, but at least it’s something.
I wouldn’t go so far as to say petty. Could be a case of passionate debate, or perhaps the writer is not primarily an English speaker.And when it’s time for pitchforks and torches. Or tar and feathers, it isn’t always a top priority to worry about the colors of the feathers or the smell of the tar.
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
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[Jerry Hofmann] “You actually think Apple isn’t aware of the “missing” features already?”
Nope.
It’s the boondoggle of the year.
In addition to apple, there are quite a few professionals using the product right now that are also not aware of any missing features. Or that apple has made a huge blunder in the development of X, and the handling of the release.Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
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[Rick Wise] “I suspect editors too will find spaces in between the old highs and the new lows.”
You’re right. I suspect a few will. Just like a few of those kids in the local basketball court will get to the NBA, or a few of those local garage bands playing at the local dive will be able to make some cash. The 1%.
The question is, what will the going rate for the other 99% be next week, next month, next year.Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
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[Marvin Holdman] “You can give a thousand typewriters to a thousand monkeys but you still won’t get Shakespeare.”
I’m sure you’re aware that only the smallest percentage of gigs are looking for, or has the budget to hire “Shakespeare”.
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
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[Rick Wise] “Well, I finally found online Apple Chat (I’m a PC guy and totally unfamiliar with the Mac World.) It turns out that an entry-level iMac will work just fine with FCP X. Of course, the larger screen and faster processor would be so much better….
So for roughly the old cost of FCP, $1,500, you can now buy an iMac and the editing software.”
Rick,
Sarcasm aside, I answered you. Sorry if there was TMI to see the info was in there.
That is what I said, first post after your question:
“300 bucks for Movie Hero, I mean FCP X
1199 for a cheap new iMac
1648.90 total inc CA sales taxGood news. It will only take 110 hours to pay off the computer and app at 15 bucks an hour.
Now, if you can keep your system busy for a regular 40 hour week, that will pull in $600. Or $2,400 a month. Or $28,800 a year gross.
Figure about a 32% total tax hit in Cali, and you can net $19,584. Of course you’ll have to do the marketing, billing and system work on your own time just to make that, if this is the future rate for X.
Get a roommate or two, don’t own a car, skip the health insurance, lots of Top Ramen, $19,500 is doable, right?”X is a really tiny little program, one file, not much bigger than…wait for it…iMovie! It will run on anything they are currently selling. People have reported running it on unqualified hardware, people have reported running it on hackintoshes. If your machine will run iMovie, and has SL, it will probably run X.
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
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Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
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+1 for the Serenity reference!
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
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[Dave Brekart] “So, I’m shooting an engagement video for a couple and the piece/wedding is 1930s-themed.
Sepia tone: check. Scratchy/dusty/misfire filters: check.
But with film burns, is there a particular difference in the “look” between super old ’30s-era film burns and Super 8-era film burns?
I know about the artbeats resource and have a couple of packages of burns, but I want to make sure that this thing is “authentic” — as authentic as a ’30s-themed video shot on a DSLR can be :)”
You might be over-thinking this a bit, but I can appreciate your desire to make your piece very authentic.
IMO Sepia tone has a western feel, not a 1930’s feel, and has become somewhat of a cliche’. I don’t know if it would be my first choice. Although rare, there was color film in the ’30’s. A color image, with the muted and slightly off colors might work better. Lot’s of times Sepia, and light leaks are used without motivation. Since what you’re shooting has a 1930’s theme, you might be able to pull this off.I’m not a film expert by any stretch, but when I got into TV, 16mm was still being used. Here is my take on this.
In a very general sense light leaks all look the same, but yet have a unique look depending on the cause.
They break down into two major parts. Fogging, and heads/tails type.
A lot has to do with the camera, how it is loaded/unloaded and by the way the camera operator handles the film. Fogging can happen at the camera, or in the lab, and has a lot to do with how careful the operator is. If it’s a camera that has to be loaded in a change bag and the person is in a hurry or careless you could fog the first few feet, and it might gradually diminish (or not!). If the film can is accidentally cracked open it could edge fog the entire roll. Or it might have a pulsing look where only part of the reel is accidentally exposed. You can also get fog where the cover seal on the camera is damaged, or the cover is sprung or not closed tight. These can vary from a pin-point light, to an edge to edge fog throughout the reel. These can change in color temp, size, or intensity as the camera is moved.
Light leaks for the most part are where the film is sticking out of the magazine for loading. The intensity would have a lot to do with how good the seals are, how much is pulled out for threading, and how much film is rolled off after loading. Home movies would probably have footage begin much closer to the loading. Flashes of white-blue or little lightning bolts from static discharge in the camera are also a possibility.
If it is color stock they can be any color but it seems they tend to be purplish blues, orange-yellows and reds, That has a lot to do with the film stock itself, and the color temp of the offending light intrusion. Color or B&W, the affected footage would have a much reduced contrast, and a lifting in the blacks in the damaged areas.There are other things you can do to help sell this effect. Since you’re shooting this, and not doctoring up existing footage, stick with short glass and small apertures. Try to get a lot of DoF. Narrow the EQ of the audio. Hair in the gate. Larger, coarser grain. Bad splices. Having the frame misaligned. Sprocket damage. Scratches aka jail bars. Water spots. Muddy colors (turquoise blues, brownish reds) from heat damage or worn out developer. Cue dots. Reel names written on the leader, or made with punched holes.
Just like I said about the Sepia tone, the whole light leaks thing has become a cliche’. I think to pull it off successfully, you’re on the right track by going for accuracy. And avoiding the ‘slap it on’ way it is commonly done.IMO the canned light leaks look too much alike, and just don’t have the personality of the real thing. Understanding where they come from might help you doctor them up a bit to get a more realistic look.
The funny thing about this is back then, we spent a lot of time cutting this stuff out and trying to troubleshoot where it was happening. Now we put it in on purpose.Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair