Sean Oneil
Forum Replies Created
-
And of course this begs the question… will they be changing their company name to Leopard Technology instead of Tiger?
-
[richard boghosian] “I get a big kick out of that warning “never upgrade in the middle of a project” In the corporate world, there is no completed project, ever. Always revisions. So we are sometimes/always re-editing a project in a new software environment. There is no good time to make the switch, just a less painful time. “
Well said. I don’t think I’ve ever not been in the middle of a project.
-
Cool. I’m not crazy :).
Non-HQ ProRes 23.98 is actually working if I set the offset to 1 (even though the A frame is 0).
I’m guessing they’ll have new drivers out any moment now for Leopard support. Maybe that will fix it.
-
[gary adcock] “This one I have seen – Check to see whether the 444 FILTERING is ON in the non HQ version, it can force the RGB > YUV errors on renders. “
It’s unchecked.
-
28 Days Later was shot on tape, not film.
-
[Sean ONeil] “I have one correction to my first post regarding the luma bug when exporting. It is happening with the Blackmagic systems as well. Kona or BM capture of 23.98 ProRes (non-HQ) cannot be exported from FCP to any QT format. Otherwise there is a luma shift during any dissolves (similar to what happens with RGB codecs). But this problem doesn’t seem to exist if the 23.98 ProRes comes from Cinema Tools (capture 29.97 and reverse to 23.98). “
Forgot to mention, I found a workaround. Putting the 23.98 ProRes clips on an 8-bit Uncompressed sequence (which is RT dark green so no rendering needed – very nice!) solves the problem. From the UC sequence I can export any type of quicktime without the luma shift.
-
Jeremy,
Thanks for the response. I have an Intel Mac Pro quad 2.6ghz – not a G5 quad.
RS232 deck control isn’t the issue. It’s been calibrated. Even if it wasn’t, testing all the pulldown offsets (0-4) one of them should work regardless.
I’m dead serious about the ProRes HQ thing. A few weeks ago I was trying to do this on the Kona 3 and I couldn’t for the life of me get it to work. It was the wrong cadence for all the offsets and I just gave up and used a Decklink equipped Mac.
Today I throroughly tested everything and the problem does in fact go away for good if you use ProRes non-HQ. To be 100% positive, I duplicated the non-HQ ProRes 23.98 capture setting, and I didn’t change anything except that I switched to HQ. And the problem returned.
I really think if someone else tries it they’ll have the same problem – but I understand it could just be my system. I have a blackburst going to a DVW-500, and the sync reference is set to “Video In” in the AJA Control Panel. I did trash my AJA and FCP preferences and it didn’t change anything. Haven’t trashed my QT prefences yet (where are they?)
I have one correction to my first post regarding the luma bug when exporting. It is happening with the Blackmagic systems as well. Kona or BM capture of 23.98 ProRes (non-HQ) cannot be exported from FCP to any QT format. Otherwise there is a luma shift during any dissolves (similar to what happens with RGB codecs). But this problem doesn’t seem to exist if the 23.98 ProRes comes from Cinema Tools (capture 29.97 and reverse to 23.98).
-
[Arniepix] “There’s no software on earth that can automagically detect where the cadence is on each shot & convert them to 24p.”
Actually there is. Google “JES Deinterlace”. It’s the most amazing thing I’ve ever used. And it’s free.
-
If your 1400 has the Firewire option, use it. No question about it. I can’t tell you how much better off you’ll be. Actually, I can…
First of all, with firewire the deck will read the TC from the firwire instead of the RS232. Even if you do a crash record. No calibration necessary, no pulldown to worry about, etc. A much better way to go. Basically, it will be just like recording a 24p tape. It actually records 60p with regular 30fps NDFTC – but it flags the redundant frames. What this means is the when you or the finishing house plays back that tape over SDI, it will contain a perfectly clean 3:2 cadence no matter what. It also gives the finishing house the (preferred) option to capture natively as well. They can capture firewire or SDTI (an option available on Avids using the Panasonic 1700 deck). So the finishing house can grab it in native 24p.
On top of that, you haven’t color corrected it in FCP. That tells me that most of your video did not require any rendering. That being the case, you will take a quality hit if you use the Kona/SDI in favor of Firewire. By outputting SDI to the deck, you are decoding and re-encoding the lossy DVCProHD codec for the entire piece. And for no reason. But if you use firewire, only the effects which required rendering will be lossy. Everything else is a 1:1 copy.
Look at it this way. The video is shot and recorded to DVCProHD by the camera (quality hit #1). I’m guessing you captured it using the Kona (hit #2). You now decide to ignore my advice (or don’t have the FW option) and ouput to tape using SDI (hit #3). The finishing house is clueless (or careless) and they don’t use firewire or SDTI either. So they capture using regular SDI to the DVCProHD codec (hit #4) . Then when they are done color correcting they master it back to DVCProHD tape (hit #5). That’s 5 generation losses, even though 3 of them are totally unecessary. Just something to think about. DVCProHD is not Digibeta. You can’t run it through multiple generations like that without doing damage.
-
I had to do this once. We had a DVD project w/ different framerates, some high-def, some upconverted. 60i and 24p. The finishing place wanted me to deliver a tape with JUST “format x” and a tape with just “format y”, etc. Had to use them for their Teranex and the director had a relationship with the place. It was the worst finishing experience I’ve ever dealt in my life. And it screwed us down the road when we had to create a re-edited version for TV.
All I can say is be careful. This is a destructive workflow. How difficult would it be to convert your non-DVCProHD footage to 24p? That may be a better option for you. Then you can just deliver them a real pre-master (file or tape) and they won’t have any cadence issues.