Shane Ross
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That is a DVD format. They didn’t give you the DVD, but just the file on the DVD. Use MPEG STREAMCLIP to convert to ProRes NTSC
Shane
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Only dead to those who want to use it on current machines or with the current OS. I still have a MacPro tower running 10.6.8 and FCP7 and FCS apps, because I have a few clients who still use FCP 7. A lot of people have the mentality “if it isn’t broke, don’t fix it” or “If it still suits my needs, still use it.” Sure, when they need to use more current cameras, they might switch, but for the time being, it works for them so they still use it.
I saw a game retailer using a computer and software for sales that I USED when I worked at a video store over 25 years ago. Still works, so why not? And my auto mechanic is running his invoicing software off a PowerMac 9600 that at one time housed an Avid and was on the WB lot…
Shane
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Dave, slightly dislexic. Last fully supported OS was 10.6.8. But it did OK under 10.7, and 10.8. SO you need a laptop that can run those OS versions at least. Need to make sure they can run it, if a computer was released at a time that 10.7 came out, you wouldn’t be able to install 10.6.8 on it.
Shane
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First off, the graphics card, while it might have multiple ports, say 3+…only TWO of them work at a time. They come with options, but graphics cards can only work on two monitors at the same time. SO if you did opt to do that, you’d lose a work monitor.
And yes, the quality is different. It’s a COMPUTER DISPLAY signal vs VIDEO signal. Computer Display won’t have the ability to show interlacing, for one. So 1080i59.94 won’t display properly. Computer Display vs video has a different color space, you can’t really do Rec709 on a computer display connection. If this is only to see what you are doing, and for a client to look at the cut for story, this is fine. But for critical viewing of quality and color, an IO like AJA and broadcast monitor or TV are recommended.
Shane
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Playing back 4K requires more than one drive. You need at least 2 drives RAIDED….more the better.
Shane
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Editing 4K in an HD timeline means you can scale the 4K better…zoom in if you need. If you edit in a 4K timeline, you can’t do that, not without losing quality but scaling over 100%. If your deliverable is HD…or even 2K DCP…edit in those frame sizes. Edit in the deliverable frame size.
Shane
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[Glenn Sakatch] “(is that 500 Canadian or U.S.?)”
Isn’t $500 CDN like $5.75 in US dollars?
🙂
Shane
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If you aren’t grading with an external, calibrated broadcast monitor…you aren’t looking at the proper color. If this is something to be shown in theaters, and color is critical…that this is a VERY important thing. The interfaces in most edit systems are NOT color accurate. The one in Resolve especially so. It’s designed to be used with an external monitor. What you see on that screen is just to show you where you are, it’s not color accurate. What I see there is always vastly different from what I see on my external broadcast monitor.
You aren’t going to be playing this in Premiere…people aren’t going to be watching this on an El Media player…it’s going to be projected in a theater. Because of that, you need a proper monitor.
If this was for the web, then Premiere and El Media might be fine…but note that if people watch on Vimeo via Safari, or Firefox, or Chrome…it’ll look different. If they use Quicktime (if it’s downloadable), or VLC…it’ll look different. Just like how what I do on my monitor looks fine, but people watching on their LG, or their Samsung, Panasonic, Sony or other TV, it’ll look different, as they all are set up different. And depending on what cable system distributes it, it’ll look different from what I have.
All you can do is use proper monitoring and make sure it looks good on your end. You can’t control how it looks on everyone’s computer. But also, if this is intended for theatrical, you need to monitor in a way that’ll mimic what it’ll look like on a big screen, projected. And Premiere and El Media won’t do that.
Shane
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[Kari Herring] “However, trying to ingest the audio, and there is no 59p option, even in a 59p project. Best advice for syncing 59p footage with 29p audio?”
Audio doesn’t have a frame rate…only a SAMPLE rate. 44.1kHz, 48kHz, etc.
[Kari Herring] “I imported the audio at 29p DF and tried to group by in points but I get an error message that says the edit rates are “incompatible”
What happens when you make a 1080p59.94 project and import the audio into that?
Shane
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Only option is screen capture software, AFAIK. Because there is no hardware/software option to send live stream out to a recording device. I mean, there used to be a Matrox solution for getting a “region of interest” on a computer monitor and send that out as a video signal…a SCAN CONVERTER. Not sure they still make one. But that does send out a signal from the image seen on the display, and assigns it a frame rate. Outputs via SDI
https://www.matrox.com/video/en/products/convert_dvi_plus/
Screenflow is screen capture software that captures everything that plays on your screen and with NO frame rate…it doesn’t assign one until you export. That’s what I would use.
My $.02
Shane
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