William Edwards
Forum Replies Created
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I guess an obvious follow up questing is, why can I see more with the Avid scopes than Resolve’s?
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Ah ha, thank you.
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Hey there,
It’s in the instruction book. The short of it is: You don’t use the keyframeseditor, you use the tracker menu on ‘FRAME’ not ‘Clip’ and use the keyframes in the tracker editor. Make two points and click the ‘in between’ button. -
Sorry, using version CC, and yes, I’m putting it on an adjustment layer.
I know what you’re saying about 16/235, but beside it looking pretty awful, that puts the waveform pretty far down in general. It doesn’t look right.
I will read the links you send me, thanks for this.
But, my question is, is there not a cap filter cut-off feature in Premiere? I don’t think it should have to be tweaked, I just want to apply the filter on it, knowing that all stray pixels are cut off. That’s what I can’t find that Premiere provides for me.
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Thank you for your responses, much appreciated!
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That ‘final legalize session’ is through your Nitris DS?
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That’s Avid running through the BM Ultrascope when double checking?
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Unless it’s more than a 120% blow up (that would be an HD file being blown up in the flame), it’s better that the flame artist handles it. That’s my rule of thumb, anyway.
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Thanks for this info Bill (and everyone else as well!)
Do you use the Avid scopes to monitor the levels? Do you have a way of double checking your work, or have you never had an issue and just keep doing it this way?
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Would it be in my best interest to have a product like this, or do you think it’s overkill?
https://www.leaderamerica.com/web/products/vidcheck/vidchecker.htm