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  • Tom Gomez

    July 13, 2011 at 1:28 pm in reply to: media manager mania

    Firewire. Just played right out the deck.

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  • Tom Gomez

    July 13, 2011 at 1:10 pm in reply to: media manager mania

    Yes, bumped to 1080 on the timeline. Some is AVC-Intra full raster and some is DVCPRO HD anamorphic. Much of the rest of the project is 1080 native.

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  • Tom Gomez

    July 13, 2011 at 12:54 pm in reply to: one big giant movie file

    Thanks much folks.

    My colorist is very talented but new to DaVinci. One question… what would the drawback be to sending 15 chunks/reels instead of say 4? The FCP edit is already organized that way. Would save me a bit of trouble but I don’t want to slow him down at all…

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  • Tom Gomez

    July 13, 2011 at 12:46 pm in reply to: media manager mania

    It would give me great joy to do the pulldown right! I was here on the cow years ago when the project started to try and do just that.

    Some is 24p and some isn’t. But here’s the problem… It was captured from directly from DVCPROHD tape and digitized without the flags and at 59.94.

    I could discover absolutely no combination of tools that would properly do the pulldown. If you have any ideas on that, I’d love to hear them! CinemaTools thinks the files are SUPPOSED to be 59.94 slomo, even though basically every other frame is a duplicate, and for the life of me I cannot get it to pull out the duplicates, even when I specify which frame is the A frame, etc.

    I just got lucky in FCP when I noticed that if put my in-point on the right frame, it played with no stutter! Nuts!

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  • Tom Gomez

    July 13, 2011 at 12:28 pm in reply to: media manager mania

    Fortunately, after much pain and anguish, I’ve been able to edit the 59.94 stuff onto the 23.976 timeline starting with the proper A frame for each clip. They play like a charm and with the right pulldown. So when I do export the timeline everything actually looks pretty good, with the whole big movie file at ProRes 1080 23.976.

    It will be a bummer to to not be able to exchange updated xml’s back and forth with the colorist, but I guess I’ll have to sacrifice that and be 1000% locked!

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  • Tom Gomez

    July 13, 2011 at 12:11 pm in reply to: one big giant movie file

    Thanks gents.

    Luckily there are only a couple dissolves in the whole thing!

    Anything else to be aware of to help davinci avoid problems doing the choppity chop?

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  • Tom Gomez

    July 13, 2011 at 12:06 pm in reply to: media manager mania

    Yes, this project has been fraught with madness. 🙁

    Might one possibility be to export the whole monster as one big ProRes 4444 beast and let DaVinci use the xml to chop it up?

    thanks again folks

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  • Tom Gomez

    July 9, 2011 at 3:06 pm in reply to: Keying challenge for sci-fi shot!

    Thanks for the input Gents!

    In the end, I was able to really take advantage of some of amazing keylight’s fine-tuning–all those little rarely-used dials–and color replacing. It turned out the hardest thing to key–bizarrely–was the black octagonal machine object. So I roto-ed that.

    thanks again

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  • Tom Gomez

    July 1, 2011 at 3:18 pm in reply to: DNxHD a bit choppy on Mac

    QT 7. I’m guessing any flavor of DNxHD plays nice and smooth on Windows?

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  • Tom Gomez

    June 30, 2011 at 8:24 pm in reply to: The best codec to use in Premiere?

    Thanks Jeff. I think I’ve got it cooking along now. The Force is with you.

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