Walter Biscardi
Forum Replies Created
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[Tom Matthies] “How can Apple allow their “Broadcast Safe” filter to pass such excessive chroma levels? Or am I just missing something important in the filter settings. And…after applying the filter, I was required to render the clip even though the Broadcast Filter is in BOLD in the filter window which I always thought ment no rendering required.
Just a little confused this morning. Must have more coffee…”I find that the Broadcast Safe filter applies really to the Luma, not the Chroma of a clip. Chroma is best corrected via the 3-Way as you used.
As for the RT, that’s a dynamic RT effect on many machines and must be rendered for final output. It displays just fine in realtime on my machine, but I render all CC before mastering.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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There’s a new tab called “Boris” in the Viewer Text tab. Go down to that and you’ll see Title 3D listed there.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Wayne K.] “For instance, I’m working on a feature-length documentary with literally thousands of shots – from countless sources, and on many of them, I’ve got some very wild gradings. It would take me literally weeks to go through each shot and bring it into spec.”
If you’re going to do the color correcting, then that’s what you’re being paid to do. This is what a colorist will do as well.
I just delivered 7 High Def network episodes with upwards of 1,000 edits between all the shows. I color corrected each scene individually with a combination of the 3-Way CC, Broadcast Safe, Levels and Proc Amp. About half of the shots have keyframes in the CC to adjust for camera moves from very dark portions of the set to the light portions of the set. I was asked to be the editor and colorist and billed accordingly.
It’s a tedious process to be sure, but it’s the only way to know for sure if your levels are correct. I much prefer full manual control, especially something going to a network in HD.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Excellent post Arnie and I’ll add one more thing. There is a product called Final Touch HD which brings to the FCP editor color correction controls almost on par with a daVinci. I’m testing it here right now and am hoping to get a colorist in here shortly to see what they think.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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first off, what kind of footage are you trying to play?
Check Canvas is set to Fit To Window. that’s a big one that get’s a lot of people.
check that your sequence / capture settings match.
As bogey notes, there are dozens of reasons for this from FCP Settings to Hardware to User Error.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[David Battistella] “Walter. I know you have been seeing buggy behavior. Are you going to maybe just do the FCP upgrade or does it go hand in hand with the OS. I checke the apple site and there is not a readme file on the FCP upgrade, it’s just “general stability improvements” all around.”
I’m going to run the update this afternoon. I’m hoping there’s also a downloadable file as one of my system is not on the internet.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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If you’re working with DV footage, there’s no reason to use the High Precision YUV settings. 8bit is a correct setting for DV footage.
High Precision is only needed if you’re working with 10bit native SD or HD footage.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[marcuslyall] “I’m trying to use ‘posterise time'”
I’m pretty sure that’s a native Adobe AE plug-in. Any Adobe supplied plug-ins do not work in FCP and with the advent of FCP 5, not many third party plug-ins work any longer either. You’ll need to purchase FCP versions of the plug-ins.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Bret Williams] ”
THATs what I tried to tell a company here in Atl. They too shoot DVCam and Beta, (mostly DVCam now), then go in through the AJA IO, then back out to DVCam!They didn’t believe me when I told them that my DSR-11 system hooked up via firewire was of higher quality output than their big AJA IO system.”
Didn’t know you’re also in Atlanta, very cool!
And yes, you’re right, DV to Uncompressed back to DV adds more noise than the Firewire route. All the gains in graphics and color quality are erased when mastering back to DVCAM and they’re actually making the video footage look worse.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Sean Lander] “Yes going in native firewire from DVCam is fine. But it sounds like you might have a bit of rendering to do? If this is so then uncompressed will give you the best results. Graphics, text and animations always come up better. Redigitising will avoid any problems you might encounter with field dominance as well. I’m assuming your running SDI to the DSR80 so there really should be no difference compared to Firewire.”
If you capture from DV via Uncompressed, then go back to a DV / DVCAM deck via SDI, the deck is going to add another round of DV / DVCAM compression.
Think about it this way. Let’s say you hook up a DigiBeta camera via SDI to a DVCAM deck. That deck is NOT going to record an uncompressed signal from the camera because it can’t. It will record the signal to tape as compressed (5:1) DVCAM footage. So what’s the difference in feeding the signal via SDI from an Final Cut Pro System? You’re taking footage that was compressed 5:1 during original aquisition, capturing it in an Uncompressed codec in FCP, then laying it back to tape with another 5:1 round of compression added to the signal.
On the other hand, if you capture Firewire in the DV codec, edit in the DV codec, then go back to the DVCAM deck, that entire process is lossless with no additional 5:1 compression added on the way out. So from a footage standpoint, the Firewire / DV route will result in a cleaner master.
IF you’re going to master out to an uncompressed format from your FCP system, such as BetaSP, DigiBeta, etc…, THEN capturing / editing in uncompressed makes sense.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters