[Will Keir]

Hey thanks a lot for the web links. I’ve looked at all the DV converters and had one more question.

The ADS Tech Pyro is the cheepest at $130 and the ADVC 300 the most expensive at $450. Now, as far as I can tell they all have the same standard inputs/outputs, they all had S-Video, Firewire and RCA, so why not go with the cheepest one?

My questions: conversion quality. how am I to tell which device is going to give me the best quality? Is there an online site that has tested and rated all these products, or are they all basically the same, or is there a technical spec. that will give me a bench mark for quality comparisons?

Thanks for all the great help,

Will Keir

[Will Keir]

Chris, I tried what you said, I went in photoshop and under image I tried to change to photo, but I couldn’t unlink height and width, so I made the picture 540 heights but the width went down too. So no solution to squashing with regard to your suggestions, but thanks anyway for trying.

Will Keir

[Will Keir]

THanks for the speedy reply.

Would you know what the quality difference is between the two?

Will Keir

[Will Keir]

Alexander,

What exactly do you mean by a garbage mask? Would you mind detailing the process please?

Another Question:

How can I use this same technique for moving shots? Is it even worth trying (I.E. if I do all the work, will it even look good?)

Thanks guys,

Will Keir

[Will Keir]

You can do it even quicker but putting the playhead at the spot you want to picture taken, then do the steps mentioned above.

A few things to note. If you don’t have Photoshop on the same computer your have Final Cut Pro, there is a De-interlace filter in your effects bin.

Now I don’t know much one is best for quality, maybe Shane does, or someone else that might post here and inform me.

Trouble with Stills:
I found that the still’s I exported where a bit squashed. I had a 16:9 timeline with 16:9 shots, that could be the reason why, and if someone could help me in this area.

How do I get the exact same frame I am seeing in my final cut pro timeline as a still JEPG image?

Will

[Will Keir]

Thanks for all the help guys, much appreciated, especially DRW, you were most helpful and answered my questions to the T.

Thanks again guys,

Will Keir

[Will Keir]

I’ve been messing around with compositing since I wrote this thread and I’ve come into a little bit of a problem with motions shots.

When the shots I have are moving, (Crane, tracking, etc…) do I have to key frame every frame and match the compositied Muzzle Flash to that location? (Thus, this is a pretty timely process?)

So every frame, am I manually adjusting the position of the muzzle flash file(composite)to that of the orginal gun shot master footage?

and In final cut pro I use the “add” option for the compositite mode to get the muzzle flash layer on top of the orginal gun blasting shot, this blends them seamlessly?

Thank you for any help,

Will

[Will Keir]

Very helpful information guys, thanks for taking the time.

Looks like I’ve got to get into compositing, is there any articles or form posts have detail this method for FCP?

Also,

DRW

“And, there are also realistic pyrotechnic flashes and explosions available on DVD that can be simply composited in the proper place on-screen.”

What DVD’s do you speak of? Do you mean to just take a movie with Muzzle Flare effects, somehow isolate just the Flare part of the screen, Rip it from a DVD movie and use it myself? Or do you mean there is a place you can Buy DVD with effects for final cut pro? If so, got the website for them?

Thanks again for the help,

Will

[Will Keir]

Looks like the problem is as I feared. I was hoping there was something I didn’t figure out that someone else out there might know.

Seems like 3 options:

1) The Worst – Scale the 4:3 footage to 133% to work in a 16:9 timeline.
2) Second Worst – Stretching the 4:3 footage in a 16:9 timeline.
3) Thirt Worst (Or best I got) – edit in a 4:3 timeline, shoot the DP, and drop letterbox on the 4:3 footage.

I would really prefer not to shoot my DP, is there really no other way to make it work?

Will Keir

[Will Keir]

I was also hoping that someone would have an answer to this question.

I too have a project primarily shot in 16×9 on a Cannon XL-2, but unfortunately our DP hit the 4:3 switch and we are trying to make the 4:3 footage works in our 16:9 timeline.

I’ve been trying several different methods of making the 4:3 footage works, but without stretching or blowing up the image, I have been unable to find a solution.

I’ve captured the footage both in anamorphic and regular NTSC but I can’t seem to get rid of the side bars without compromising the resolution.

The only option I have found that might work is to edit in a 4:3 timeline, thus the 4:3 footage works, and put a widescreen matte on the 16:9 footage. I would prefer not to do this, but do I have a better option?

Thank you so much for any help,

Will Keir
production@theridgeboysmovie.com