Scott Sheriff
Forum Replies Created
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[David Roth Weiss] “But wait a second, how about if I transcode DV or FlipCam to 10-bit uncompressed 4K, then down-convert to ProRes Proxy for the offline. Then, upres back to 10-bit unc. 4K for the online, and down-convert that to ProRes 444 for release.”
On VHS, for the retro look.
Doesn’t get any better than 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… -
Not quite sure what you mean. Are you saying things that are not in the timeline show in the canvas when you play the timeline?
Have you looked at the timeline zoomed in enough to see flash frames?
Don’t have any real ideas, but it might help others to know some details.
What is your sequence settings?
Are you nesting?
How big are the stills?
Why jpgs? Pretty lossy format. PNG’s work well in FCP, are not as big as tifs, and are almost lossless.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] “Worse than that, I experience companies using ProRes4444, because it is 4:4:4, and the best! Even though they output to the web, or DVD or BluRay”
4:4:4 for DVD. Total overkill.
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… -
Make a bin called ‘used’, as a sub-bin in your footage bin. When you use a clip in your timeline, move it to the used bin.
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… -
Did you do this in Motion or FCP?
Can you post some of the video?
Whats the codec, timeline settings?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] “I’m sorry to learn that you’re having problems, but the term “messed up” isn’t the greatest description of what’s happening. There’s no way to make a diagnosis. We don’t know if the text is jumping around the screen, grew purple hair, robbed a bank or ran off with your Significant Other.
Can you elaborate on what you mean?”
Caution Dave,
You may be accused of being one of those “bitter old people who never answer direct questions”, or of causing “unhelpful clutter”.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’re trying to decrease the density of the shadows, scrim on the barn doors won’t do much. Shadow density is related to the size of the source, and the distance from the subject. A large source, close to the subject, whether it’s a softbox, a butterfly or a simple sheet of foamcore and a bounce light will produce a much softer, less dense shadow. The texture of the scrim has little to do with shadow density. And a piece of scrim cut to fit the barndoors, just doesn’t significantly increase the size of the source. So the shadows will have the almost same relative density as the bare instrument, but the edges will be a little less pronounced.
You can see this effect at work in noting the difference in shadows between a sunny day and one with a high thin overcast. This is the small source far away, vs the large source close up. It’s not the texture of the clouds that reduce the shadows, but the fact the entire sky has become the light source.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… -
[hannah goldie] “Workflow design – I know this sounds stupid…does she mean a diagram with arrows?”
To me this means how you get from your raw footage to your final distributable, and the steps you will take to get there. While making sure every step is optimized in both terms of use of budget and resources.
So for example shooting in DV-SD if your distribution is going to be theatrical is a bad workflow.
Does your final product include a lot of mographs, or FX? If it does figure using AE, Motion or what ever. If it doesn’t then don’t waste the effort. Will you need out of house sound sweetening? Custom music? Narration? Color correction? DVD authoring? Film transfer?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… -
Hard to say what the pros and cons are for you, since you have given so little info on what type of material your working with, your skill level, budget, etc.
Try the search function, you should get a few results. This has been asked many, many times, and is a much better way to evaluate whats best for you.
Also look in the art of edit forum, which doesn’t have a built in FCP bias.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… -
[Bill Davis] “Personally, I can’t STAND flat black walls in a studio. I understand the reflection killing deal, but I’m unwilling to pay the psychological price of my studio looking like it was designed by a bunch of outlaw bikers.”
On aesthetics I agree. Black studio drapes on a rail are a really good solution for this since they can be put away when not in use. For me a black area behind the camera and off to the sides isn’t so much about reflection. On the sides, it can occasionally save you if you accidentally overshoot the set a little on a pan/zoom, that type of thing. Probably more important in a studio used for live stuff. But having done a little on camera stuff, I find it easier to read the prompter and stay focused if the area behind the camera is dark. If you only deal with professional on camera talent, that might be a moot point since most can work anywhere. But if you shoot a lot of people that don’t do on camera stuff for a living, it might help.
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…