Friday, October 30, 2009

Re: [FCP-L] Happy Halloween!

No?

But hey, if that's your boogieman, go for it.


On Oct 30, 2009, at 10:25 PM, Multimediac wrote:

> A spoon being a metaphor for illegal immigration?
>
> g
>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]

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Re: [FCP-L] Happy Halloween!

A spoon being a metaphor for illegal immigration?

g

[Non-text portions of this message have been removed]

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Re: [FCP-L] Cannot "Media Manage" a subclip?

there are few tricks to Media Manage contiguous sub clips.

1. make them dis-contiguous.
in my (PAL) experience, this means removing TWO frames from between
the clips.
you will get one back on the M'd file, but the gap in FCP has to be
two frames.

2. Checkerboard the clips in a timeline, and do two passes of Media
Management

3. Don't Media Manage at all, use the BATCH EXPORT.
you will lose logging notes and markers, if any.


nick


On 31/10/2009, at 6:54 AM, Tod Hopkins wrote:

> Yes, there is a reel name, but that's really useful to know, thanks.
>
> This is not a new frustration. I've tried this before with other
> material and eventually just given. In fact, I've carefully followed
> Apple's step by step instructions for breaking down long clips by
> subclipping (in the manual) and discovered that unless there is a
> solid gap of unused media between two subclips, Media Manager will not
> throw anything away.
>
> But know that I think of that, I was able to make that work before
> with some kind of trick. Hmmm? Maybe I need to go find those old
> notes.
>
> Cheers,
> tod
>
> On Oct 30, 2009, at 3:46 PM, Shane Ross wrote:
>
> > Does this said clip have a REEL name associated with it? MM doesn't
> > do squat unless there is a reel name.
> >
> > -shane.
> >
> >
> >
>
> Tod Hopkins
> Hillmann & Carr Inc.
> todhopkins@hillmanncarr.com
>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]

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[FCP-L] Happy Halloween!

http://www.youtube.com/watch?v=9VDvgL58h_Y


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Re: [FCP-L] Production question: Lights

Wes,
Just my two cents on light output. Depending on the camera you are using, a 1K could be overkill. The newer cameras don't need much light to look good. I have been using the Panasonic 900 and 200 cameras and find that a 300 or 350 watt light is often perfect for a key with a 100 or 150 for fill and backlight, plus a small highlight on the background. If I use a 650w light, it is normaly with a Chimera to soften it. The smaller lights also give off less heat (something the talent/subject will appreciate - so will you if its a small room).
Gregg Foster
Meredith Video Solutions
ParentsTV
BetterTV

-----Original Message-----

From: Wes Plate <wes@automaticduck.com>
Subj: Re: [FCP-L] Production question: Lights
Date: Fri Oct 30, 2009 7:27 pm
Size: 12K
To: FCP-L <FinalCutPro-L@yahoogroups.com>


Thank you to everyone for your replies.

I'm going to visit with a local reseller who also rents this kind of gear
and start off renting, then when I find I need to buy I'll use all your
awesome info.

--
Wes Plate
Automatic Duck, Inc.
http://www.automaticduck.com




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Re: [FCP-L] Cannot "Media Manage" a subclip?

Same thing in Avid - if you consolidate subclips but the handles overlap on
two subs, you don't get what you ask for. Not done this in FCP.


On 30/10/2009 19:54, "Tod Hopkins" <hoplist@hillmanncarr.com> wrote:

> Yes, there is a reel name, but that's really useful to know, thanks.
>
> This is not a new frustration. I've tried this before with other
> material and eventually just given. In fact, I've carefully followed
> Apple's step by step instructions for breaking down long clips by
> subclipping (in the manual) and discovered that unless there is a
> solid gap of unused media between two subclips, Media Manager will not
> throw anything away.

>
> Tod Hopkins
> Hillmann & Carr Inc.
> todhopkins@hillmanncarr.com
>
>

+++
With best wishes,

Roger Shufflebottom
Avid Certified Instructor
http://www.bottom-line.tv
Tel: +44 1992 535 031 (UK)
Mobile: +44 7973 543 660


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Re: [FCP-L] Production question: Lights

On Oct 30, 2009, at 9:04 AM, Bill Affleck wrote:

> rent a 1000w nun for the key, use the foamcore
> for fill, and work your backlight any way you can. This system, by
> the way, if positioned correctly, can take all light reflection off
> glasses.


Bill,
I give up. I went several pages deep on google for 1000w nun and it
just got more unlikely. What is that?

Also, how does this setup help keep light out of glasses?

Thanks in advance.

Cordially,
Doug

Doug vanderHoof
Chicago

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Re: [FCP-L] Non-tape based consumery cameras that work with FCP?

On 8/26/09 4:53 PM, "craigseeman" <cseeman@optonline.net> wrote:

> I don't think there are any current consumer cameras that record DV to flash
> or hard drive.
> There are SD and HD cameras generally record some variation of MPEG depending
> on brand and model.
>
> Personally I'd recommend looking at the Canon HD AVCHD cameras. It's not a
> fast import if that's what you're looking for but it'll go to AIC in iMovie
> and either AIC or ProRes in FCP.
>
> For SD look at Canon FS 200 for $299
> For HD look at Canon HF 200 for $599
> Assuming inexpensive is the goal.

The HF200 does allow its .MT2 files to be converted to ProRes via Log and
Transfer but I can't seem to get FCP to see the .MOD files created by the
FS200.

Craig, do you know if the FS200 is supposed to be able to have its media be
ingested via L&T?


--
Wes Plate
Automatic Duck, Inc.
http://www.automaticduck.com


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Re: [FCP-L] Production question: Lights

Thank you to everyone for your replies.

I'm going to visit with a local reseller who also rents this kind of gear
and start off renting, then when I find I need to buy I'll use all your
awesome info.


--
Wes Plate
Automatic Duck, Inc.
http://www.automaticduck.com


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[FCP-L] Re: Another RED workflow Q

> What kind of offline issues anyway? rendering?
> Ken

Performance is poor. Dropped frames. You are working in a native codec that isn't real-time at full quality and that you can't render back to. The M-proxies are 1K QT reference files that are always linking back to the full-data-rate 4K camera files. So you have an image that is worse than a high-quality SD conversion to offline-edit with.

IMHO, the only reason that people decide to offline edit something like a feature film this way is because they are too impatient to wait for transcoding before they start.

- Oliver

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Re: [FCP-L] Cannot "Media Manage" a subclip?

Yes, there is a reel name, but that's really useful to know, thanks.

This is not a new frustration. I've tried this before with other
material and eventually just given. In fact, I've carefully followed
Apple's step by step instructions for breaking down long clips by
subclipping (in the manual) and discovered that unless there is a
solid gap of unused media between two subclips, Media Manager will not
throw anything away.

But know that I think of that, I was able to make that work before
with some kind of trick. Hmmm? Maybe I need to go find those old
notes.

Cheers,
tod


On Oct 30, 2009, at 3:46 PM, Shane Ross wrote:

> Does this said clip have a REEL name associated with it? MM doesn't
> do squat unless there is a reel name.
>
> -shane.
>
>
>

Tod Hopkins
Hillmann & Carr Inc.
todhopkins@hillmanncarr.com

[Non-text portions of this message have been removed]

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Re: [FCP-L] Cannot "Media Manage" a subclip?

Does this said clip have a REEL name associated with it? MM doesn't
do squat unless there is a reel name.

-shane

On Oct 30, 2009, at 12:43 PM, Tod Hopkins wrote:

> Here's what I want to do...
>
> I have a very long master clip and a much shorter subclip. I would
> like to make a new master clip from the subclip, associated with a new
> media file containing only the media needed AND I don't want to lose
> the original, longer media file.
>
> Seems simple, but FCP simple won't do this. It goes through the
> motions, but the subclip remains a subclip and remains linked to the
> original. No new copy.
>
> I believe the only workaround is to cut the subclip into a sequence
> making an "affiliate" clip and then media managing the affiliate clip.
>
> Is this really my only option? Has this been "fixed" in version 7?
>
> Cheers,
> tod
>
> Tod Hopkins
> Hillmann & Carr Inc.
> todhopkins@hillmanncarr.com
>
>
>

[Non-text portions of this message have been removed]

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[FCP-L] Cannot "Media Manage" a subclip?

Here's what I want to do...

I have a very long master clip and a much shorter subclip. I would
like to make a new master clip from the subclip, associated with a new
media file containing only the media needed AND I don't want to lose
the original, longer media file.

Seems simple, but FCP simple won't do this. It goes through the
motions, but the subclip remains a subclip and remains linked to the
original. No new copy.

I believe the only workaround is to cut the subclip into a sequence
making an "affiliate" clip and then media managing the affiliate clip.

Is this really my only option? Has this been "fixed" in version 7?

Cheers,
tod


Tod Hopkins
Hillmann & Carr Inc.
todhopkins@hillmanncarr.com

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[FCP-L] Re: Another RED workflow Q

Maybe, but the offline is almost finished. It was done at another facility. I'm just interested in the finishing workflow. What kind of offline issues anyway? rendering?

Ken

--- In FinalCutPro-L@yahoogroups.com, Oliver Peters <oliverpeters@...> wrote:
>
> Ken,
>
> > Posted by: ksiru
> > Client shot completely on Red 4K. Offline editing is on FCP 23.98
> > with M Proxies. This is a 90 minute film.
>
> Cutting a 90 min. feature from proxies is going to be painful.
>
> Sincerely,
> Oliver
>


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[FCP-L] Apple HDV Codec Field Order?

I would like to start by thanking the Apple engineer who came up with the Apple "only" HDV codec.  How could you know that after a week of double shifts I wanted to stay at work till 5:30 am sorting out field order issues on a PC Avid SN classic.  Can someone tell me why the import field order into an Avid needs to be even not odd (which is the opposite of what most HD graphics are etc....)  If a qt is in the Apple HDV codec does that mean it was captured into FCP native through firewire?

Here is my problem.  A show was started in FCP then moved to Avid using Sebsky tool.  This was done on a Mac Avid.  The media was brought in already imported and then consolidated to the online Avid SN classic on PC.  Almost if not all the Sebsky'd clips have field order issues.  It is my understanding through bleery eyes that there is no PC QT codec for the Apple HDV, can someone confirm this?  The only way I could get to the original QTs was to open them in QT pro on my macbook pro and export them as animation or Avid Packed Codec.  I could not use DNX because of backwards compatabiliy of the new DNX codec to the old DNX on the symphony.  I know that is just a download thing and will suggest that fix for DNX.  Once I've converted the QTs to a PC friendly codec I found that they must be imported as lower field first to avoid the field order issue I'm seeing.  Is the Apple HDV codec really lower field normally or is my need for conversion
causing a field order swap?

Assuming the Sebsky tools conversion was done correctly will the source  time code reflected in the Avid timeline be an accurate to the original field tapes?  If so then I'm thinking it will be quicker to recapture of tape than have to import the entire QT clips.  Plus relinking the QT media seems to be problematic due to the typical Avid imported media issues when trying to relink or reconnect.

Lastly could anyone speculate on what video level differences I might expect if we do recapture off tape.  I can only imagine that the trip through QT import will yield different levels that a capture SDI off tape.  Hopefully that will be small sense I've already color corrected the show with the imported media.

Sorry for all the questions I haven't slept much in a week do to double shifts so I'm a little more frazzled tha usual.  TIA   I'm cross posting to both L's for advice.

John Moore

Barking Trout Productions

Studio City, CA

bigfish@pacbell.net

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Re: [FCP-L] Production question: Lights

Those are cool (pun intended) but a little pricey (The Roscor ones,
righ?). Of course, MOST of the options are pricey.

Do you find you have to get them too close to the subject? Do they
have enough "throw?" I definitely love the look, but it seemed like
you had to get them in pretty close to the subject for them to do
anything. But I haven't used them on a real shoot, just seen demos.
Can you give a more explicit recommendation? I'd love to hear it.

On Oct 30, 2009, at 12:20 PM, Allan Smith wrote:

> Guys, we have gone to using "Light Panels" and absolutely love them.
> That
> would be our recommendation!


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Re: [FCP-L] Production question: Lights

Guys, we have gone to using ³Light Panels² and absolutely love them. That
would be our recommendation!
Best,
Allan

Allan Smith, Director/Producer
DreamQuest Productions, LLC
3053 Rancho Vista Blvd., Suite H-210
Palmdale, CA 93551
661.492.3188
www.dreamquest.tv


On 10/30/09 7:04 AM, "Bill Affleck" <baffleck@centurytel.net> wrote:

>
>
>
>
> Steve has the right solution for a single person medium to CU shot.
> You can also buy a 150w photoflood and hang it for a backlight.
> However one caveat: you are dealing with a lot of different color
> temperatures. Make sure you balance for the most pleasing.
>
> If you have the money, rent a 1000w nun for the key, use the foamcore
> for fill, and work your backlight any way you can. This system, by
> the way, if positioned correctly, can take all light reflection off
> glasses. If you have furniture in the shot, use a practical lamp for
> backlight or background light.
>
> Happy shooting.
>
> Bill Affleck
> Wasteland Productions, Inc.
> On Oct 29, 2009, at 8:33 PM, Andy Edwards wrote:
>
>> > Can you just rent a kit at your location if you don't want to spend a
>> > bundle at B&H?
>> >
>> > Don't forget a reflector in the mix as it can help with the bounce if
>> > you only have a small kit.
>> >
>> > Andy Edwards
>> >
>> > On Oct 29, 2009, at 5:58 PM, Wes Plate wrote:
>> >
>>> > >
>>> > > I'm soon going to be interviewing some folks, and I figure the one
>>> > > thing I
>>> > > have zero of available to me is any lighting. I haven't really
>> > thought
>>> > > about lighting since college and surely things have changed since
>>> > > then, but
>>> > > looking at B&H's web site it all seems properly pro-priced and my
>>> > > budget is
>>> > > rather modest.
>>> > >
>>> > > I don't think I want a light ON the camera, this isn't the news, I'm
>>> > > thinking your basic three or two light setup, but modest.
>>> > >
>>> > > --
>>> > > Wes Plate
>>> > > Automatic Duck, Inc.
>>> > > http://www.automaticduck.com
>>> > > .
>>> > >
>>> > >
>> >
>> > [Non-text portions of this message have been removed]
>> >
>> >
>> >
>
> Bill Affleck
> Wasteland Productions, Inc.
>
> [Non-text portions of this message have been removed]
>
>
>
>
>

[Non-text portions of this message have been removed]

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[FCP-L] Bragging again

Gentlemen Broncos, which was edited at Alpha Dogs, comes out today.

http://www.foxsearchlight.com/gentlemenbroncos/


[Non-text portions of this message have been removed]

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Re: [FCP-L] Video Archive - What are you using?

Doesn't Chronosync do bit comparison?

Thanks.

Benny Christensen
Producers Playhouse
Oklahoma City
405-858-0700

"There is only one thing that can kill the Movies, and that is
education." - Will Rogers

On Oct 30, 2009, at 11:38 AM, Tod Hopkins wrote:

> Hard drives. Nothing else is practical in our workflow. I use a
> Blacx dock and bare drives. I am nowhere near as pessimistic about
> near term viability of bare hard drives (3-5 years) and think the need
> to spin-up or otherwise verify drives on the shelf is somewhere
> between overblown and absurd (yes, I have done the research)
> especially if you have two copies.
>
> Invest in a good, fast interface, preferably eSata. Avoid USB at all
> costs. It's too damn slow.
> Establish a workflow that assures that you have actually copied what
> you intended. The biggest danger is an error in the original backup
> process itself.
> (Can anyone recommend an OSX copy utility that actively verifies or a
> reliable bit compare?)
> Run a disk check (or "verify") as the last step before putting the
> drive away.
> Make two independent copies.
> Do not make your second copy from your first copy. Ideally, your
> second copy should be stored "off site."
> Consider using two different drives models (or at least manufacturing
> runs) to avoid getting two drives with the same flaw. There is no
> reason at all for the drives to match.
> Establish an archiving system that will allow you to easily locate
> what you backed up.
> Consider spending a bit more for "enterprise" class drives. They are
> not that much more expensive and are built to higher standards.
> Do not buy the latest and greatest models/capacities. Stick with
> "work horse" models that have an established reputation.
>
> Have fun.
>
>
> Tod Hopkins
> Hillmann & Carr Inc.
> todhopkins@hillmanncarr.com
>
>
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>

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Re: [FCP-L] Video Archive - What are you using?

Hard drives. Nothing else is practical in our workflow. I use a
Blacx dock and bare drives. I am nowhere near as pessimistic about
near term viability of bare hard drives (3-5 years) and think the need
to spin-up or otherwise verify drives on the shelf is somewhere
between overblown and absurd (yes, I have done the research)
especially if you have two copies.

Invest in a good, fast interface, preferably eSata. Avoid USB at all
costs. It's too damn slow.
Establish a workflow that assures that you have actually copied what
you intended. The biggest danger is an error in the original backup
process itself.
(Can anyone recommend an OSX copy utility that actively verifies or a
reliable bit compare?)
Run a disk check (or "verify") as the last step before putting the
drive away.
Make two independent copies.
Do not make your second copy from your first copy. Ideally, your
second copy should be stored "off site."
Consider using two different drives models (or at least manufacturing
runs) to avoid getting two drives with the same flaw. There is no
reason at all for the drives to match.
Establish an archiving system that will allow you to easily locate
what you backed up.
Consider spending a bit more for "enterprise" class drives. They are
not that much more expensive and are built to higher standards.
Do not buy the latest and greatest models/capacities. Stick with
"work horse" models that have an established reputation.

Have fun.


Tod Hopkins
Hillmann & Carr Inc.
todhopkins@hillmanncarr.com

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[FCP-L] brightness trouble with uncompressed files after online

After an online session for some new TV spots, we ordered a Digibeta plus an assortment of Uncompressed Quicktimes (HD and SD, 25 and 29.97) so I could make the usual client requests: DVDs, YouTube upload, FLV, H.264, MP4, MPEG-2, MPEG-1. The problem: The Uncompressed Quicktimes from the online look too bright. The various compressed files I've been making all require extensive gamma and brightness correction in Compressor to look acceptable. Because of the gamma differences in Leopard and Snow Leopard, I checked the files on both operating systems, on both old and new Quicktime players, and on several different displays. I also tried checking and unchecking the Final Cut Studio color compatibility preference in Quicktime.

In Final Cut Pro, the uncompressed files look too bright in the FCP Viewer (just like in Quicktime) but look absolutely perfect out of my Kona LH-e (viewed on a Sony CRT broadcast monitor, parked on a frame). When I A/B still frames, the Digibeta and the uncompressed video look visually identical out of the Kona. However, none of the various uncompressed videos will play out of the Kona even when the Video Playback setting is matched correctly (they play fine in the Viewer). To get a spot to play, I dropped it in a ProRes timeline and rendered, but the color was now too bright out of the Kona.

Looking over a bunch of other Uncompressed files I've ordered this year, I think I see a pattern: Quicktime's Inspector indicates that the good-looking files are "Uncompressed" or "Animation," while the overly-bright files show the format codec as "None." I don't know how the finishing house made the files; we always ask for "Uncompressed."

I'm clueless. I never realized that no compression versus uncompressed was an issue. Any advice would be appreciated.

Thanks -- Mark B

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Re: [FCP-L] Production question: Lights

 

Steve has the right solution for a single person medium to CU shot.
You can also buy a 150w photoflood and hang it for a backlight.
However one caveat: you are dealing with a lot of different color
temperatures. Make sure you balance for the most pleasing.

If you have the money, rent a 1000w nun for the key, use the foamcore
for fill, and work your backlight any way you can. This system, by
the way, if positioned correctly, can take all light reflection off
glasses. If you have furniture in the shot, use a practical lamp for
backlight or background light.

Happy shooting.

Bill Affleck
Wasteland Productions, Inc.
On Oct 29, 2009, at 8:33 PM, Andy Edwards wrote:

> Can you just rent a kit at your location if you don't want to spend a
> bundle at B&H?
>
> Don't forget a reflector in the mix as it can help with the bounce if
> you only have a small kit.
>
> Andy Edwards
>
> On Oct 29, 2009, at 5:58 PM, Wes Plate wrote:
>
> >
> > I'm soon going to be interviewing some folks, and I figure the one
> > thing I
> > have zero of available to me is any lighting. I haven't really
> thought
> > about lighting since college and surely things have changed since
> > then, but
> > looking at B&H's web site it all seems properly pro-priced and my
> > budget is
> > rather modest.
> >
> > I don't think I want a light ON the camera, this isn't the news, I'm
> > thinking your basic three or two light setup, but modest.
> >
> > --
> > Wes Plate
> > Automatic Duck, Inc.
> > http://www.automaticduck.com
> > .
> >
> >
>
> [Non-text portions of this message have been removed]
>
>
>

Bill Affleck
Wasteland Productions, Inc.

[Non-text portions of this message have been removed]

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[FCP-L] Re: Another RED workflow Q

 

Ken,

> Posted by: ksiru
> Client shot completely on Red 4K. Offline editing is on FCP 23.98
> with M Proxies. This is a 90 minute film.

Cutting a 90 min. feature from proxies is going to be painful.

Sincerely,
Oliver

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