Scott Sheriff
Forum Replies Created
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[Andrei Lopatenko] “What is a full moon night?
low saturation, yellow cast? …”I would lean more towards a blue cast, especially in the blacks and mids.
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… -
Hi,
Why not try posting in the After Effects forum?
You might also try a search, but I’m not sure if anyone has ever asked this before.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… -
[Dave LaRonde] “Since you will convert HD video to SD DVD, you need to change your project settings in DVD Studio Pro from 4×3 to 16×9.”
Dave,
You ‘da man. I totally missed that.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… -
OK, here is the deal.
1. Converting your media to ProRes 422 HQ is overkill for what you are doing, and is creating more data than necessary. Use regular ProRess 422.
2. Make sure your sequence is the same as the source.
3. Make sure you’re render setting is the same as sequence.
4. You can either Export a QT movie and then take that into Compressor, or Export using Compressor. Either works. There is some debate as to which is better quality. If there is, it isn’t enough to worry about. Export using Compressor ties up Final Cut so you can’t do other work, that is one downside.
5. In Compressor there is a preset for 150 minutes (DVD/Best/150min), that should work since your material is 148 minutes.
6. Take the two asset files that result from Compressor and import them into DVDSP.
7. Add them as a ‘Track’ and right click it and select first play. Don’t add a menu, I don’t think you will have enough room with that long of a recording.
8. Build and Format your disc, don’t use ‘lossless linking’.
9. Done. This will make a disc that plays the material automatically as soon as it’s put in.If you need a menu, or your material doesn’t quite fit (it should) you will need to adjust the bitrate manually. If that is the case you should read the DVDSP documentation thoroughly, it’s all in there.
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… -
Or are you using a USB connected audio board?
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… -
[Mark Suszko] “Actually, it needs some kind of animated button for a zero-frame trim, so you can *look* like you made a change but didn’t.”
Oh, that brings back some memories.
Back in the tape days when only the editors knew how to run the CMX and the Grass and had to operate it for everyone else, at least once a week there was some producer that wanted to trim ‘a frame’ off of something 5 edits back, that wasn’t bothering anybody else and looked fine. Of course it always had to be on some tape that color framed so poorly you were using 20 second preroll, and lucky to get a lock. It was SOP to just do a preview, and ask them how they liked the ‘new edit’. Know one ever caught on, because it was about their ego, not making the shot better. None of them were good enough to see a frame difference, or questioned why we didn’t have to ripple the rest of the shots.
These were usually the same jerks that would come unglued for wasting time if you stopped to fix a flash frame. And that usually went something like this:
*hitting all stop, and scrolling back the EDL*
“What are you doing?”
“I just spotted a flash frame”
“I didn’t see anything.”
“I thought you had ‘one frame eyes’? You can’t see that?”
*jogging back the record deck*
“I don’t see shit”
*deck now stopped on one obvious frame left after a replacement*
“This is left after replacing that shot, how could you miss it?”
“I’m going out for a smoke, let me know when your done screwing around”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… -
[Todd Terry] “Simulating skip bleach is just one of the things Magic Bullet easily does… one of several hundred things it does, and does really really well.
Specifically, Magic Bullet Looks is one of the best plug-ins we have ever used and it is installed in all our suites except one. It’s not super cheap, but it is easily worth twice it’s price. I actually wouldn’t hesitate to buy it again at three times.”
That is quite an endorsement. I’m sure Red Giant products are well made. But a C note is a lot of coin for something that you can do for free, is not that difficult, and seems kinda overkill for this one time use.
I guess my other complaint about using trendy plugins is that so are ten thousand other editors.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… -
[Mark Suszko] “Check out the Magic Bullet Looks “bleach bypass” filter effects. You can test a frame for free via a downloaded sampler.”
The video is definatley based on a beach bypass look, but had some other things going on. There was some color isolation-replacement, etc.
Doing a basic bleach bypass in FCP is pretty easy. Can’t believe anybody actually charges money for a plugin to do that. There is also a bleach bypass preset in the Color FX room in Color.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… -
[Craig Bass] “I have attempted to secure this look entirely in post, but have ended up with abysmal results. Gels are something I have never used in the past, but I am wondering if these are the key to this look. Should I gel the lights blue? If I do, how do I control the skin tones? To recreate this look, must I use blue gels and then recapture the skin tones in my color correction program?
Currently, we use a kit of daylight balanced lights: some fluorescent, some LED.”
This is just the ‘Amelie’ or ‘Three Kings’ look.
Two ways to do this.1. Create a special scene file for the camera. This will require running some tests. The downside is the ‘look’ is baked into the footage.
2. Do it in post, which is how it is done 99% of the time. This could be done in Color, or in FCP ( and others) using the limit function in the 3WCC, and stacked filters, some masking and maybe some tint. Even the bits where he opens his mouth and it is blow out, and the blown out edges. This is not the kind of thing you just whip out in five minutes. It takes planning, time, and a familiarity with color correction.
Now that I say that, there may be some plugins, or other canned FX that will get you close to the basic look. The problem there is canned FX never look fresh as something built from scratch.You will also get much better results if the shoot is properly planned and lit. Set pieces, costumes and lighting all have an effect on the level of success. This would go for any of these type of looks, including doing the ‘Pleasantville’ mono w/one color look. Shoot some tests and make sure everything works well together.
I think part of your problem is too much variation in the color temp of your lights. Stick with a consistent color temp. Even if your flos and LEDs say they are daylight, they all have spikes in the green that are different. I would just use tungsten lighting.
Blue gel on the lights will make doing this more difficult, not easier. Having defined differences between colors you want to manipulate make it easier, as will a consistent color temp on the sources.
If your not up to speed on post color work, it might be worth your money to hire someone who is, and include them in the planning process.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… -
[Shane Ross] “If they want BetaSX, you need to rent a BetaSX deck. It is a format, it does exist. You can ask if Digibeta or betaSP would work. But if not, then you need to rent the deck.”
And you have to use BetacamSX tape. If you use SP tape, it won’t be recording SX.
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…