Tony Manolikakis
Forum Replies Created
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Guys
It is because the OUT point on the timeline should be looking backwards and not forwards in the timeline. You can see the difference when you mark clip (x) versus jumping to the first frame of a clip marking and IN point and jumping to the last frame and marking an OUT. Mark clip does it right IMO. I have different behaviours for this in different NLE’s.
Tony
Tony Manolikakis
Rev13 Films -
Well Undo (CTRL-Z) doe bring them back. Turning off visibility and then turning it back on does not bring them back. I am sure that is what you meant. Man this can be a real pain.
Tony
Tony Manolikakis
Rev13 Films -
If you mean 1080i 29.97 fps and 1080i 59.94 Hz. There is no difference. Some manufacturers refer to frames others refer to frequency or fields.
Tony
Tony Manolikakis
Rev13 Films -
I only do the online, color grading, effects and mastering and the production company does their own offline. They were concerned about needing to add to their current infrastructure. They use DV converter boxes to go out to their SD monitor and DVD recorder and did not want to invest in anything else. Every field tape gets converted to DVD for review and transcription. So I proposed this workflow. It does make for the occasional hair pulling when I do the online but it actually is far less painful than you might think, except for being careful on the TC breaks. In analyzing things so far, I do not think it adds more than 1 day/show to our post workflow. As for realtime effects, you are right, there is not much
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We do this for a TV series that I am working on. Documentary/reality type show.
HDV Tape (downconvert out of VTR) > FCP as DV> edit DV footage to picture lock > Media Manager to offline and create HDV seq > Recapture > Color correct graphics etc > master to HD and SD
They work off line in DV because it is faster with more realtime capabilities etc and it fits into the way they currently work ( DV converter boxes etc )
The recaptures have been quite solid. Just make sure that you set the capture to make a new clip on TC breaks one you do the first capture otherwise it will be real pain. We always output a QT movie at the picture lock stage so that I can check that my online is perfect against. I end up having some small corrections to make and 1 or 2 clips need to be redone manually. Each epsiode is 30 minutes.
Hope this helps.
Tony
Tony Manolikakis
Rev13 Films -
Guys
I will preface this by saying that I was the product manager for Axio. I wrote the specification for it and helped develop it. I left Matrox 2 years ago to devote myself full time to running my own post facility for TV and film and to make my films as a director producer.
I have two main editing stations, one based on Axio and the other on FCP-Kona. If you ignore the FCP suite vs the PPro Production bundle comparison, you will find Axio to be incredibly powerful. The Axio is superior in terms of realtime capabilities. You can have multiple streams of HD material with effects in realtime and I do not mean preview or proxy. Full resolution ready to print to tape, and you can mix any HD format on the same timeline. Now I do not have the latest Mac Pro but the FCP architecture at the moment is just not able to support the same level of realtime as Axio. Mixed formats, drop shadow, glows etc are all not full quality realtime on FCP. Realtime capability is not always directly related to productivity of course. I personally prefer editing in FCP over PPro and I find the entire FCP suite very powerful. But I try to take advantage of the strength of each system. Also, in my market ( Montreal, Canada ) editing is Avid or Final Cut so having an Axio system, regardless of performance, does not buy you much. Feel free to post any questions you may have, but maybe this discussion is best kept on the Matrox forum from here on.
Tony Manolikakis
Rev13 Films -
If you are working in a 10 bit codec and set your rendering to high precision YUV you should be rendering in 10 bit. Am I missing something here?
Tony
Tony Manolikakis
Rev13 Films -
PsF is a Sony convention for progressive segmented frame. A progressive image is divided in a similar way to an interlaced image so that any device connected to the output will believe that it is looking at interlaced material, which at time this was developed, was required in order to fit in to the infrastructure of all facilities, think of switchers and monitors in particular. The image is completely progressive, is recorded to tape as progressive, and should be treated as progressive, there are no fields nor interlacing artefacts. The only time PsF matters is in transport into and out of the system or deck etc. Any system that supports 24p, supports PsF at it’s input and output (at the HD-SDI or YCbCr level). You should have nothing to worry about wrt this.
Tony
Rev13Films -
MXO does not use a slot. It connects to your DVI out and USB. gives you HD-SDI with embedded audio and analog (compononet or Y/C-composite.
Tony
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You have never seen the mechanic check the appropriate repair manual for your car while he is working on it? Of course they do. Of course they know what to do in general but there are specific things or peculiarities for your make and model that they are checking. I happen to produce medical training DVDs for orthopaedic surgeons. One of the intended markets for our products is for experienced surgeons who the night before, or even moments before, are getting a refresher on the procedure. They also communicate with each other before and during procedures just to make sure. The good thing is it takes more than just owning a pager and a surgical gown to be a surgeon, and you’re right, the guy asking ” how do I make sure this high end commercial is broadcast safe. How do I read the vectorscope”… is not a pro. But the fundamentally people are always learning and making sure they are on top of their game. If they are just trying to get in the game, that’s when they mess things up for everyone.
Tony