| | | | can't open files from FS-100 DV24ps
by Michael Sacci on Oct 9, 2008 at 9:38:04 pm
in the FireStore Forum
the files onto your HD and import the clips into FCP. In FCP clip on the clip in the bin and then go to Tools>Remove Advanced pulldown and then the footage should show up as 23.98 and you can start ... | | | | |
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AJA io
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The long-awaited AJA Io HD!
Creative COW Community leader Gary Adcock has also worked closely with a number of industry manufacturers over the years, including AJA. Gary offers a guided tour through the features of the much-anticipated Io HD, and its promise of portable, hardware-supported ProRes editing in virtually every frame size and frame rate.
Review
Author: Gary Adcock |
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| | | | 24P or 24PA for FCP?
by Tom Wolsky on Nov 20, 2006 at 10:23:45 am
in the Apple Final Cut Pro basics Forum
of the whether it's 24p or 24pa. To call 24pa true 24 is a misnomer and a misunderstanding of what the format is doing. 24pa has one advantage. It lets you work in a 23.98 sequence and output sequence that ... | | | | |
| | | | Stuttered Textures
by Keith Hill on Mar 11, 2006 at 5:58:32 pm
in the Apple LiveType Forum
icon into the FCP timeline. I render the FCP timeline and get the stuttering. For example, I mostly shoot in 24Advanced using my DVX100A and create a 24p Advance Timeline (23.98) with Advanced Pulldown in Final Cut Pro. So, when ... | | | | |
| | | | ProRes HQ dropped frames
by marcus ionis on Oct 9, 2008 at 7:13:21 pm
in the Apple Final Cut Pro Forum
Recently clients have been handing over 1920x1080 23.98 Apple ProRes HQ. On two back to back instances, both files were imported into FCP and the "Optimizing Warning" appeared. I've ignored the warning and placed the files into my sequences. Several ... | | | | |
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Apple Final Cut Pro
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A Few Bugs in Apple Final Cut Pro 6
Creative COW Leader Jeremy Garchow is one of the COW's most frequent posters. "I work in Final Cut Pro all day every day," he says, "and often all night too. These are a few of the issues I've found with Final Cut Pro 6. I assume that Apple will take care of these soon, but until then, here are some tips to help you watch where you step."
Editorial, Feature
Author: Jeremy Garchow |
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| | | | Exporting issues
by Humberto Perez on Oct 6, 2008 at 5:57:58 pm
in the AJA Kona Forum
Hi, I'm having some issues with playback. We've captured HD Cam video at 29.97, which was shot at 23.98. The Kona seems to downconvert playback to the monitor acceptably, but when we export the footage down to a 4:3 and ... | | | | |
| | | | Tri- Bi- Level Sync Oprations Question
by Bob Zelin on Oct 5, 2008 at 4:28:18 pm
in the HD High-End Forum
to house black (NTSC 525 for example). But now, you have to work with the SAME AJA Kona 3 card, or same Blackmagic Decklink HD Extreme card, and a Sony HVW-M2000 HD VTR at 23.98. All of a sudden, the ... | | | | |
| | | | Easy Setup for 24p Question
by Claire Panke on Oct 8, 2008 at 5:00:19 pm
in the Apple Final Cut Pro basics Forum
I have footage shot in standard 24p (F5 on the DVX camera) I will be editing on a 23.98 timeline I am also working with some 24pA material, so we're planning to use Cinema Tools to convert the standard 24p ... | | | | |
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Cinematography
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Shooting with RED: Testing, testing...
CreativeCOW leader Gary Adcock's experience shooting both film and HD gives him a unique perspective as he takes you along for thorough testing with the new RED camera. In part 1 of this series, he focuses on the camera's benefits and shortcomings of the camera itself, as well as some of the challenges shooting with it.
Feature
Author: Gary Adcock |
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| | | | News: FOR-A Canada Celebrates 20th Anniversary
by Cow News Droid on Jul 22, 2008 at 6:40:38 pm
in the News & Press Releases Forum
is that of its frame rate converters. FOR-A is currently the only company manufacturing a frame rate converter that can accomplish vector motion conversion between 1080P 23.98 and 1080I 60 with its FRC-7000 and FRC-3000. The company will be a ... | | | | |
| | | | remove pull-down on capture with Kona3
by Matt Riley on Oct 1, 2008 at 9:53:27 pm
in the AJA Kona Forum
tape? I've found some threads here on the cow about it, but I don't think I have all the setting quite right as I can't get it to work reliably. I open up a ProRes 525 23.98 sequence via the ... | | | | |
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Adobe Premiere Pro
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Bob Zelin Looks at The AJA GEN10
The AJA GEN10 is a cost effective and flexible Blackburst and Tri-level Sync Generator. While reminding you of why blackburst and sync are very, very good ideas, Creative Cow leader Bob Zelin takes you through the GEN10's ins and 7 outs.
Review
Author: Bob Zelin |
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Apple Final Cut Pro
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Final Cut Pro 3
Philip Hodgetts presents the definitive 'hands-on' preview of Apple's new Final Cut Pro 3. Read on for everything you wanted to know, and some things you hadn't even thought of yet.
Review
Author: Philip Hodgetts |
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Linux & Media
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A Talk with SpectSoft's Jason Howard about Linux & Film Production
Creative Cow's own Jason Howard, is helping bring Starship Troopers 2 to the big screen. His company, SpectSoft, has been working with the famed Tippett Studios to integrate SpectSoft's new RaveHD system into Tippett's workflow. Faced with creating a system that allowed customers like Tippett to work with many different formats and systems -- like accessing both Sony CineAlta's 1080p24 format and Panasonic VariCam's 720p60 -- and performing well with the very latest HD decks, etc. How well has RaveHD worked for Tippett over the last eight months of its use? Well, famed Tippett Studios used it for the HD editing workflow for Starship Troopers 2. Here's the story...
People / Interview
Author: Jason Howard |
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Apple Final Cut Pro
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DVCPRO Frame Rate Converter
In this Final Cut Pro video tutorial, Creative Cow Leader Shane Ross discusses taking 60p footage shot with DVCPRO HD and slowing it down to 23.98 so that it's slow motion. Please note that this only works if you are working in a 23.98 or 29.97 timeline.
Tutorial, Video Tutorial
Author: Shane Ross |
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Pinnacle CineWave
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Cinewave 4
Walter Biscardi is a leader in both our Final Cut Pro and Pinnacle CineWave forum communities where Cow members have long appreciated his friendly and insightful input. In this article, Walter explores the new powers found in Pinnacle's CineWave 4. Walter is a longtime user of CineWave, having used it in many projects in his studio where he serves a long list of corporate and broadcast clients. How does the new CineWave meet his demands and expectations, along with those of his clients? Walter takes CineWave 4 out for a demanding ride and gives Cow members his verdict as a user whose own investment is behind his opinions. This is no editorial done by a trade journalist with a unit for review, these are the words of a guy whose own investment and decisions either makes or breaks his company's future. See what he thinks of CineWave after owning one for quite some time and growing with the system as it has developed...
Review
Author: Walter Biscardi |
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