Shane Ross
Forum Replies Created
-
There is no fix for this. You cannot mandate a standard for every LCD screen to display the same color, every cel phone, every computer display, every TV. And then all the players play things differently…QT, VLC…hosting sites, YouTube, Vimeo. All different. And even WEB APPS will display it differently. A video on Vimeo will look different on Safari than on Chrome, and Firefox.
This is why you get a properly balanced grading monitor, and feed it a proper signal. So you grade it to what THAT device shows. THen you know you have it right and good. What happens to it after you send it out into the world…you can’t control that.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
That IKEA commercial always cracked me up.
Well, I keep a legacy system around JUST IN CASE (happen to need to use it about once a year)…and for things like making DVDs. Plus I have a 16TB RAID 5 Caldigit setup that only works on this machine, so it’s relegated to archive duties as well. I’ll keep that until the machine (2008 MacPro) goes belly up. And when clients stop asking for DVDs.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Well, as you pointed out, HDV isn’t full raster 1920×1080, it’s thin raster (anamorphic) 1440×1080…and is more square. BUT, when you use an HDV sequence setting, FCP knows to stretch the image out to be more full frame, full raster.
[Marc Dewey] “The strangest thing is, I copy & pasted a small clip into a new sequence with identical settings & exported that, works fine.”
Might be a corrupt sequence. Why not make a new sequence with matching settings, and copy and paste everything into it? Then export and see what it does.
[Marc Dewey] “I seem to remember having a Canon HDV plugin for FCP that allowed me to import/export in 1920×1080 resolution, but maybe I’m just crazy?”
It wasn’t a plugin, it was a setting so when you captured, it captured it as ProRes. That process is laid out on this COW article:
https://library.creativecow.net/articles/poisson_chris/hdv-prores.php
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Sam Stephan] “And I don’t think I can just import an AAF from him, since it would correspond to the “coloring” timeline, which is now useless to me.”
This is how things work…you send an EDL that references the cut, the colorist then imports that, links it to the camera masters, renders out new media, and gets that new media and AAF to you that you then import and have a new sequence that references that media. There is no way to link your old sequence to that new media.
If you had speed changes, you should have made note of them and given those to the colorist so they could replicate the effect. You should also provide a timecoded reference QT file with all the speed effects in place so that they can see where it should start and end. Did you communicate with them that you had speed changes and that those needed to be done in online?
[Sam Stephan] “So I duplicated my timeline, removed all the effects, and stretched out my clips in order to give me what I thought would be enough handles to make some of my timewarped (slowed down) footage, since the final edit would be using more frames.”
Not sure I get this. How can you stretch out the clips and maintain the total running time, and look of the piece? Did the colorist get the timeline, but in the sections where you sped it up, suddenly they had a realllllllllly long clip to grade, and then send back? Sorry, this really confused me.
You really should be talking to the colorist and explain about these speed changes and ask what they need in order to accommodate them and make them work.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
No…he said:
“the locators… will go into the sequence if you already have them on the clip if you have the setting for that turned on”
Meaning if you have them on the clip already…in the source…and then cut them into the sequence, they will follow. But no, you can’t have a clip in the sequence…add a marker to THAT clip in the source, and then have a locator appear on that clip at that spot in the sequence.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Nope, not missing a thing. Markers won’t appear on clips already in the sequence when you add them to the source. Not sure any edit software does that.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
That was most likely done in After Effects, the compositing app, not Premiere Pro.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Ronny Courtens] “Worx4 X from Marquis Broadcast will consolidate your Final Cut projects with handles. It still has some limitations but it works well for most projects. I agree this is a very useful feature in many workflows, which should be included in the NLE.”
I don’t use FCX, but I online many projects from it. And the people I deal with said this didn’t work out too well, caused issues. So we are skipping it. Hopefully they work out the kinks that these guys found.
[Ronny Courtens] “- If you are importing from a camera card that contains the entire card structure, or from FCP X Camera Archives, you can select ranges of clips and only those ranges will be imported into Final Cut Pro X. You can even command-drag more than one range per clip.”
That is COOL to know.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Bill Davis] “Same story as always. Many editors will continue to view X mostly through the lens of their prior NLE operational expectations. Rather than attempting to clean away some of that mental pre-conditioning and accept it for what it is.”
Well, I thought that being able to consolidate footage used in the cut with handles would be something VERY useful that most people want…especially when archiving a project. But, I guess THAT is too “old school” for Apple? It’s not preconditioning…it’s a very VERY useful feature that for some reason Apple ignored. And the ability to Log and Capture only sections of clips, or only parts of a card…another way advanced feature (Again, one that NO NLE has currently, none) tossed aside also seems odd. BUT, OK. Guess useful features that save time and space are old hat.
Guess storage is so cheap that they say “why wouldn’t you want all that?” Because when you hand off a 2 hour doc to be onlined, it’s better to get 1-2TB of footage rather than 8-12TB
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[David Mathis] “The ability to do stuff as Shane Ross mentioned though Worx4 X is good”
OH! HEY! That’s great!
Shane
Little Frog Post
Read my blog, Little Frog in High Def