Stephan Walfridsson
Forum Replies Created
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Well, the problem is that unless you are checking your colors on a (properly calibrated) broadcast monitor there is no way you will be able to see exactly what the colors should look like on a (properly calibrated) broadcast-monitor. Computer monitors and broadcast monitors use very different colorspaces. There is no simple ‘this is what it should look like’ solution. (If someone knows of one please let me know, as it would mean that I didn’t have to buy those expensive reference monitors for color correcting.)
From the Photoshop helpfile (Video and animation / Creating images for video):
“For more accurate previews, Photoshop also has a Video Preview command that lets you immediately preview your work on a display device, such as a video monitor. To use this feature, you must have the device connected to your computer via FireWire (IEEE 1394). See also ‘Preview your document on a video monitor’.”
Stephan
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[chris rogers] ”
https://images.apple.com/finalcutstudio/resources/white_papers/L342568A_ProR…“ProRes is an intermediate or “off line” codec , which means it is intended for use during video editing, and not intended or practical for end user viewing. The benefit of an intermediate codec is that it retains higher quality than end user codecs while still requiring much less expensive disk systems compared to uncompressed video.”
“Where is that quote from? I can’t find it in the white paper you are linking to. I wouldn’t consider ProRes an offline codec (although it could of course be used as such). The ProRes bitrate is equal to or higher (ProRes HQ) than the HDCAM bitrate which I doubt you would call an offline codec.
If you could deliver a ProRes quicktime file to PBS or if they require the material on some form of “uncompressed” tape is another question. (And I have no clue…)
Stephan
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[Jeffrey Buras] ” was just wanted an archive copy and maybe tweak a few things later. It seemed more simple for them to pick up a drive than for me to ship them one.”
So why not just have them send the footage on a USB-drive. And if it works for you to edit from then fine. If not just copy the stuff to a firewire drive.
Stephan
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Hi Johnny,
I can confirm that the Decklink Extreme (non HD) will downconvert EX1 footage in realtime for you to monitor. It’s just a matter of having the correct output settings in FCP, depending on the actual format you’ve shot on. It looks OK if you find the correct setting, really bad (or no realtime) if you have the wrong setting.
I have also downconverted footage from EX1 to SD but I haven’t done it for anything broadcast related yet. However I can say that dropping your HD sequence into an SD sequence and rendering that produces pretty good results. You will obviously loose reolution and quality but to my eyes it looks ok. I’ve done that from other HD sources for broadcast and to me it looks as good as any other commercial when it’s aired. ( I might get bashed by some technical experts for saying that…)
/Stephan
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Could you be a little bit more specific about the problem and your workflow?
It sounds like you are having a problem with the 3:2 pulldown cadence. So how are you handling the 3:2 pulldown during your round trip to AE?
/Stephan
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“A001_C014_080726 “ As this is the reel number you should find it under the Reel column in the browser, not as the clipname.
/Stephan
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Ther might be a simpler way but here is a suggestion:
(Make duplicate of your sequence first… )
Select all your Audio clips and disable the Stereo Pairing (Alt-L or in the Modify menu).
After that pan one of the music clips to the right and copy that. Select all your music clips and paste attributes (Alt-V) selecting pan only. This should result in all your music clips being panned to the right. Now do the same procedure (but pan left) to the other audio clips./Stephan
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[david bogie] ”
Are you using an assistant or coworker or are you working with your own projects on your own portable?”I do it both with my own portable and handing it off to other people. On a feature film I edited the director brought the entire project home (27 hours of footage and audiofiles) on a 500GB drive to work with some scenes on his laptop.
But I do make sure that the project works from the drive before handing it off. And when you get it back there’s always a few mediafiles that they forgot to put on the drive. So I always ask that they bring their computer back to me as well so I can sort everything out.
/Stephan
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As long as you have the same version of FCP and make sure the codec you use is availiable on the MacBookPro there shouldn’t be any problems, I do it all the time…
/Stephan
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Zane, I didn’t mean to imply that Stu was ungrateful, rather I wanted to apologize ahead of time incase my suggestion/explanation was something he already knew. I just felt that, as you suggest, people were not understanding Stu and possibly he wasn’t understanding them. So just to make sure that he understood what they were talking about I decided to explain it a little more in depth.
My guess is, as yours, that he had his Autosave Vault located on his raid. But this is only my guess, as it is not totally clear from his postings.
So no hard feelings… 😉
/Stephan