Terence Curren
Forum Replies Created
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[Chris Blair] “Our clients love the fact that we actually “tell” them our “real” opinions about their ideas and plans…without filtering it and watering it down. “
You obviously don’t work in LA. How much repeat work do you think you would get out here by telling producers and directors what stinks in their shows? I can see it now….
(Director) What do you think of the show?
(Editor) Well, the acting sucks, the original script was obviously very weak, and the lighting looks like you never had enough money to do it right. Why would anyone waste money on a project like this?
(Director thinks to self) I’ll never work with this asshole again.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
We were successful in rendering the project in another system. Today I’m troubleshooting. What I’ve found so far is that it works fine on the same computer with our Leopard and FCS 6.0.2 startup drive. (We keep each version and clone the drive for updates, which paid of in spades in this case)
I even updated the Kona driver and firmware on the 6.0.2 FCS startup drive and everything was still fine.
Went back to the current startup drive (All software updates current, and running FCS 6.0.2) and I can’t even get to rendering as Color keeps crashing at various stages prior to rendering.
This is the same computer. The same project. the same drives, etc. Color and FCP are just buggy as hell with all the current revisions.
Did all the usual things, trashing preferences, repairing permissions, etc. No help at all.
At least I now know it isn’t the kona or the hardware in the system.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
This just started happening with the last update and firmware flash on the Kona card. 6.0.1
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
[Angie Piccirillo] “Looking at your signature, I believe we have done some finishing at Alpha Dogs before in the past year. Is this the same alpha dogs near Victory?”
We are on Olive half way between Buena Vista and Victory.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
Welcome to the world of editing 24 frame shows in 30 frame. You have to be careful not to get flash fields. What you are experiencing is the nature of that beast.
In FCP, you only see field one of the frame. So you make an edit on what looks to you like a valid end frame of a shot. Now when it goes out to tape, it actually has two fields and the second field is from the following shot in the master.
Safest way to avoid this (a technique that has been safely used for at least twenty years) is to NEVER us the last frame of a shot in pre edited 24 frame to 30 frame material unless you are willing to evaluate it in two field viewing.
Two field viewing can be done on an external monitor with show frames as opposed to show field selected in the Kona control panel.
I have also been told that if your timeline monitor is set to 100 percent view in FCP, it will show both fields. I have never verified this though.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
[Chris Blair] “We occasionally do freebie stuff for non-profits in our community, but we ALWAYS have editors and shooters work on it during business hours. If it involves off-hours, we pay them.”
That is what isn’t quite clear here. Does his “salary” cover whatever hours the boss chooses to work him. The big difference between salaried and hourly employees is that there isn’t a 1 to 1 relationship between work and pay for the salary guy.
Can they have home work on their pet projects? Yes. Do they need to pay him for that time? Yes. Is his salary that pay? Depends upon their deal. Beauty in this country is he doesn’t have to keep working for them if he doesn’t like the deal.
Bottom line, either renegotiate or move on.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
Then you need to change the deck settings to create NDF TC on the downconvert. It’s a painful option to even exist but apparently Sony had to do it for the broadcasters. Costs tons of time in issues like this.
As for how it looks, You are throwing out fields going to 23.98 which already is cagey at best. Then when you ad back duplicated fields going to 30 on output, it gets even nastier. I wish I had something better to tell you, but it is what it is.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
[Veronica Rutledge] “One thing I noticed is that these transfered tapes are drop frame tc. I know that cameras don’t have the option to shoot at 24 DF tc- could this be the reason I’m experiencing the jittering? I’m thinking the tapes should have been transfered to NDF.”
You are correct, you have been screwed. There is NO drop frame at any other rate than 29.97. But I think I’m missing a step here.
You had 30 frame material, yes?
Had it xferred to 23.98, 1080 I assume, yes?
This tape will be NDF.
Here is the missing step, did you have SD downconverts made from that tape to edit with? If so, they should also be NDF code or you will never be able to match back.
Now, the image not looking right. Assuming the above steps are what occurred, how did they go from 29.97 to 23.98? Did they use a Teranex? Also, what was the original footage, was it film xferred to 23.98?
Those are important questions as they affect the quality of what you end up with.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
If your matte is married, in other words it shows as a precompute (looks like an effect icon as opposed to a clip icon in the bin) then you do the following:
Background video on V1
Matte key precompute on V2
Step inside matte key precompute
V1 is blank as that looks down to the tracks below
V2 is the fill which you can replace with your video
V3 is the alpha and it is locked so you can’t affect it.
Now when you step back out it will be keying the fill you cut in over the track below.
If you have a holdout/alpha/matte as a clip, then do the following:
V1 is background video
V2 is foreground video
V3 is matte/alpha/holdout video
Place the matte key effect on the clip on V3
If this is the opposite of what you want, in other words the fill is the BG and the BG is the fill, then select “invert key” in the matte key effect.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
[Veronica Rutledge] “This part still confuses me- when the 2:3 pulldown is applied upon import into Avid, should it read at the same frame rate of the project? Because my footage is being captured at a frame rate of 29.976”
If you are in a 23.98 project, your footage is being captured at 23.98. If you want to see it in action, capture a window burn. Now step through frame by frame and you will find 6 of the 30 frame numbers missing.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca