Scott Sheriff
Forum Replies Created
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Jeff
“It’s something different. It’s not what someone is used to. The foreign environment feels like it will slow them down.”Your probably right. That is too bad though. It’s hard to learn if you don’t step out of the ‘comfort zone’. Folks that edit with FCP and don’t get into Motion are just missing out on a great tool that they have bought and paid for.
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… -
“Ideally we would like to be able to not leave FCP. But I suppose sending to motion is really one of the only options right?”
I guess I don’t understand why the hesitancy to use all the tools available???
FCP is an editing program. What you want to do is a perfect task for Motion, which is a motion graphics program. Motion can do this, and a lot more.
You mentioned a plugin for a 64 point matte. With Motion, you can make mattes with hundreds of points if that is what you need. Don’t be one of the hundreds of people out there paying for needless FCP plugins, because you don’t want to learn an ap you already own. Having a good tablet will make doing this a piece of cake. If you don’t that is a better place to spend your money instead of plugins.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… -
I would roll off some camera bars and see what they look like. If you don’t have a test chart, you might want to roll off some black, and both 70% and 100% by the zebra (shoot a white wall) for some comparison. It’s good to know where your camera starts blowing out detail.
Along those lines most cameras have the exposure values set pretty conservative from the factory. You can (usually) open these up to get a couple more stops of dynamic range. This will make the camera more forgiving on exposure. Doing this will influence how you set and use the zebra.IMHO good field monitoring is great for judging the frame, and color (assuming the operator knows how to calibrate it). But the amount of over-exposure you are describing should be quite visible in the VF.
I have to agree with whoever said clouds shouldn’t be shot at 100%, unless it’s a backlight situation and your deliberately trying to blow them out. Sometimes portions of a cloud will be true white. You have to use your eye IRL to decide what is the whitest part, and only have zebra on that if your using 100%.
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… -
Have you been here?
https://www.apple.com/finalcutstudio/specs/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… -
“I also have noticed some skipping when playing back only 422 and 422(HQ) files. I didnt think this would be an issue, do i have to have them all be the same?”
FYI
422HQ is total overkill for that camera. It’s really for 2K plus frame sizes, and all your getting is bigger files than standard ProRes.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… -
“The method I use now is copying the part I want to know the exact duration of, create a new sequence, pasting it in there and then checking the sequence duration. This way however seems a little farfetched to me, I’m sure there’s a faster way of checking the exact duration of a selected part of the sequence?”
Double face-palm! Have you read the manual?
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… -
Hitachi or Western Digital Black.
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… -
PAL=Phase Alternating Line.
It is the Color Sub-Carrier encoding method of 625 line analog TV signals used in most of Europe. The other (similar) method used in Europe (France, Russia) was called SECAM (Sequential Color with Memory).
Both describe the method color information is conveyed on the analog broadcast TV signal. The frame rate for both (50 fields per second) are as Shane correctly noted, are based on the local power-line frequency, 50Hz.
PAL and SECAM would be analogous to our NTSC, except that NTSC (National Television System Committee) is the name of the standards organization, rather than the method. All three formats are methods of adding color information to existing analog B&W interlaced TV signals, and make them forward and reverse compatible. Quite a technical challenge. In all three formats, the frame rate had already been established for B&W broadcasts, so these are color standards/formats, not frame rates. A minor exception to that is NTSC, which is where the odd 29.97 frame rate originated. American B&W TV was true 60 fields/30 frames (same as our power line 60Hz), but when color was introduced, it had to be tweaked to avoid interference with the 3.57Mhz Color Sub-Carrier Burst signal. B&W sets had enough slop in their circuits to deal with the slight reduction in frame rate. This reduced frame rate is also the reason we have drop frame TC.
In the digital world, these terms are all obsolete. Color information is no longer conveyed by phase change of an analog signal. In America analog NTSC is no more. It is replaced by ATSC, which is digital, 16×9, HD (double the scan lines of SD), and conforms to the DVB standard for North America. In Europe, most digital also conforms to the DVB standard. This doesn’t mean everything is entirely cross compatible, since there are many flavors of DVB.
So if it digital, and there is no more Color Sub-Carrier, why do they still call it PAL and not DVB? I don’t know. Maybe tradition. LP records came out in the 40’s. Before LP’s, records had only one song per side so it took several records sold together in a type of book to make an ‘album’. But well into the 90’s people continued to call single LP records and even CD’s ‘albums’.
The term PAL is commonly used now as a type of slang to refer to any 25Hz/fps based video signal.
But technically, if it isn’t analog it isn’t PAL.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 from this amount of info where the breakdown is.
Here are some shots in the dark.
Wrong pre-roll.
Wrong capture preset.
Capture Scratch disk full, or not up to spec.
Damaged heads.
Bad timecode, also free running TC is a nightmare in HDV.
Not enough lead recorded before the source begins.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,
“Everybody’s gonna need loans for new 128 TB, 800 mbs arrays. FCP will have to go 64-bit. Apple will have to license Adobe/NVidia Cuda technology.”No, not everybody, at least for now. Only those that either suffer from compression-phobia, think ‘uncompressed’ gives their work cred, or the very few that their workflow/product could justify such a system. Maybe for some type of FX, or such.
But seriously, I’m sure you remember when a 100 meg HD was a big deal. Now anything less than 1TB is passe’. So your 128TB, 800mbs array might not be that far off in the future. And you might not even need a loan.
Who knows what will be in 5 years, but at some point we will be capable of recording more info than the viewer can perceive, even when the frame is blown up to drive-in size screens. What will be the point of increasing beyond that? For the average viewer, we may already be there now, or close to it.
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…