[Stef Allan]

Thanks for your response. This could account for the difference between the rendered (previewed) version and the export version.

Unfortunately the bigger issue is the downgrade in quality when I render…it’s like it’s rendering a lower-res image.

I used the exact same settings in 8.1.0 and was consistently successful. Now in 9.0.1 I am finding the quality degrading.

Needless to say, this is a major problem and very concerning.

[Stef Allan]

Yes, I’m generating previews. When I say “rendered” those are preview files. Old FCP terminology that has lingered with me. Screencaps below.

The problem is that these are the exact same settings I had used successfully in Premiere 8.1.0 but in 9.0.1 they are problematic. It’s also worthy of note that I tried AVC-HD and DVCPro sequence settings and had the same problem. I also tried maximum render quality, etc. and none of these fixed the issue.

sequence settings:

export settings (I am not exporting using previews):

thank you!

[Stef Allan]

Bump this topic. I’m looking for firmware for the 750.

[Stef Allan]

Check your gamma curve. There is much more noise on different gamma settings than others. Breakup in dark tones is definitely an issue for this camera but I recommend you get away from film or cinema gamma and stay with the standard setting.

Lots of noise when you use the black stretch option as well.

Note that this is the image processing and not the recording so much of this is NOT a compression issue. But yeah, it has compression limitations as well.

[Stef Allan]

Another question follows here. THere is some noise in the shot that I have to replicate in the new background. I’m trying to use the “Add Noise” filter in FCP. I’m getting close but it really is quite a challenge. Is this the best way to achieve the desired result or should I try something else?

Thank you all

[Stef Allan]

Mark, this is awesome. Thank you so much.

[Stef Allan]

It can’t be featureless because there is some texture (mostly digital noise behind the speaker. I’m basically trying to create a clean background that I can matte over the slide screen.

Here’s a blank version of the set…I’m trying to grab a column of clean background between the screen and the table to create a frame with which I can cover the screen. I haven’t found a good way to do that.

[Stef Allan]

This is in FCP7. I also do have Photoshop, etc. if the answer is there.

[Stef Allan]

I agree that it doesn’t look great. Remember, it’s an SD clip. Also, these are just zoomed screenshots of the clip.

I transcoded to h.264 through Compressor and did not have the same problem. I think I should be fine now, but I still don’t really like what’s going on in Media Encoder. I had the same problems even when I set it to 25 mbps.

And why would the clip ever have been in a weird dimension like 655×486? This project was edited long ago in Avid by another editor and now I’m trying to figure out why some of these things are strange as they seem.

Thank you,
Stef

[Stef Allan]

This thread is in serious need of a dissenting opinion.

Sure, there are standards that you use. But you want to decide what you consider your “standard” package. A dolly and a jib? Depends on the dolly and jib.

As for the same rates for 35mm film and miniDV, that’s crazy. It’s not just the stock, it’s the cost of the camera, its maintenance, and its peripherals. You’re not going to bill the same for an Alexa as you would a 5D. Decide what you consider standard, but cameras, HMIs, a dolly, and a jib should be line items.

You can always give your client a deal but you DO NOT want clients to assume that certain things are included. What happens when the house across town decides that they’re going to include free Corvettes for their clients? They get the work and you don’t but neither side makes money on the production.

Don’t nickel and dime but the big-ticket items should be line-itemed. This includes each individual actually working on set.

Also, markup is a funny thing. That’s where you make your real money. It used to be that industry standard was 50% markup. It still is for some things but it’s hard to get that for industrial/local-type productions. Personally, I feel the 2-5% is quite low. Why even charge markup at all if it’s 2%? Minimum should be 10%. But project management, contingency, and markup are all different things.

PROJECT MANAGEMENT: What you charge for running a project, including everything from quotes to execution. If you’re the creative director for a station then you are probably salaried. This is where the station (or production company) makes the money to pay your salary. 10% of production cost is standard.

CONTINGENCY: This is what you bill in case your estimate was not adequate. Perhaps a computer crashes and you have to go out and buy one. Maybe the DP gets food poisoning and you have to bring someone else in after lunch (they still both need to be paid). You’re building a buffer with contingency so that this doesn’t eat at your profit. You don’t have to charge a contingency if the production doesn’t go into these extra costs.

OVERHEAD: This accounts for things that you can’t bill the client directly like rent, electricity, equipment, support staff salaries, etc. Overhead is not profit.

MARKUP: This is where you make your money. Don’t charge less than you think you should. Pick an amount and bill it, but you have to charge some.

The important thing to remember is that your client includes all of these costs in their own budgets. Sure, they’re going to want the lowest budget possible but it needs to be worth your time.