| | | | Re: broadcast monitor playback
by walter biscardi on Nov 2, 2009 at 8:49:48 pm
in the AJA Kona Forum
[Mitch Ives] "And this is getting less clear all the time. Right now, the h264 clips from a 5D or 7D Canon can be thrown onto the FCP timeline, and if you say yes when asked if you want the sequence to be changed to match the clips, they play on the | | | | |
| | | | Re: monitoring 2k offline FCP7/Kona3
by walter biscardi on Nov 2, 2009 at 7:44:32 pm
in the Apple Final Cut Pro Forum
[Joe Procopio] "i thought prores 422 was 8bit and prores 422 HQ was 10bit.... "
Nope. Completely and utterly false. Both are 10bit. Always have been.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post an | | | | |
| | | | New FSI 2470W features 10bit panel
by walter biscardi on Nov 2, 2009 at 5:56:41 pm
in the Apple Color Forum
For those of you who have to work with 10bit panels, FSI will be shipping the 2470W with LED backlight shortly. And before you ask, no I have not seen one yet.
http://www.flandersscientific.com/index/lm2470w
List price is $8995.
Walter B | | | | |
| | | | Re: Apple Color does not accept 24p vids?
by Joseph Owens on Nov 2, 2009 at 5:05:15 pm
in the Apple Color Forum
Codec problem.
COLOR adheres to the frame rate embedded in the XML created on the "Send To..." instruction.
COLOR certainly supports 24 fps, but usually in dpx/cin workflow. A lot of consumer codecs try to simplify the language for the laity so | | | | |
| | | | Re: timecode burn in qt file, fastest way ?
by walter biscardi on Nov 2, 2009 at 2:58:46 pm
in the Apple Final Cut Pro Forum
You do know that Quicktime Player 7 displays TC in the counter, right? All you need to do is export the QT file and have your client switch the counter to TC.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Pos | | | | |
| | | | Apple Color does not accept 24p vids?
by Ivan Lee Barcellos on Nov 2, 2009 at 12:32:32 pm
in the Apple Color Forum
Hey guys, I'm new here...
I'm really new in Color, but I'm familiar with FCP for some time.
Well, when I send my timeline from FCP to Color, all I get are red boxes in the timeline. What's happening?
My workflow: Lumix GH1, AVHCD to .MOV with N | | | | |
| | | | Re: HD from Avid offline to FC to AE
by walter biscardi on Nov 2, 2009 at 3:07:08 am
in the Apple Final Cut Pro Forum
[Ori Alon] "Any ideas about multiple-sequences-batch-capture in FCP? "
Well when a project comes in from Avid you have a Master Clips bin created with all the clips required to capture. So just capture from there.
If you're bringing over multip | | | | |
| | | | Re: HD from Avid offline to FC to AE
by walter biscardi on Nov 2, 2009 at 1:20:08 am
in the Apple Final Cut Pro Forum
[Ori Alon] "This is solved by decomposing, just wondered why it happens. "
I always recommend Avid editors decompose before sending a timeline to FCP. It's sort of like a Nest in FCP, you would actually get a very similar behavior because some TC | | | | |
| | | | Re: HD from Avid offline to FC to AE
by walter biscardi on Nov 2, 2009 at 1:07:32 am
in the Apple Final Cut Pro Forum
[Michael Gissing] "Firstly the HDCam HD SDI output will be 1080 50i so that is the best capture setting."
The AJA Kona presets only show the proper frame rates. So for a Kona preset you will see 1080 / 25 because the frame rate is actually 25fps, | | | | |
| | | | Re: Black Magic Intensity
by walter biscardi on Nov 1, 2009 at 2:44:30 pm
in the Apple Color Forum
Did you convert to ProRes via Firewire or through the card? When you convert to ProRes via Firewire it remains anamorphic and that has caused issues with other people using Color. The best way to convert HDV to ProRes is via a capture card that su | | | | |
| | | | Re: exporting from FCP5
by walter biscardi on Nov 1, 2009 at 1:51:41 pm
in the Apple Final Cut Pro basics Forum
You can't. Sony does not support the DVCPro format (DV50). You can lay off to MiniDV or if the deck supports it, DVCAM.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media
| | | | |
| | | | Re: Blur / defocus
by Bob Sliga on Oct 31, 2009 at 7:07:02 pm
in the Apple Color Forum
Yes it can in the Color FX Room.
Nodes needed are an Alpha Blend, Vignette, Blur and Output node.
Position and size the vignette to the area you want to defocus.
Attach the vignette node to the Alpha Blend's Alpha Channel. (The far right input o | | | | |
| | | | Re: Reconform
by Bob Sliga on Oct 31, 2009 at 6:28:49 pm
in the Apple Color Forum
Step 4 is where you went wrong.
Navigate to the new re-conform XML just created and exported from FCP. Select Load.
Before attempting again I would first open the Color project just to be sure your project is still intact and not missing any grad | | | | |
| | | | Re: U-N-D-ude
by walter biscardi on Oct 30, 2009 at 7:19:00 pm
in the Apple Color Forum
[Loren White] "Yeah... the single undo thing is a pain!
Cant be that hard to add a few more levels to it? "
Well some of us remember when there were NO undo levels period. Not that big a deal.
You learn to adjust your workflow to the tool. | | | | |
| | | | Re: HDV to DVCPROHD
by walter biscardi on Oct 30, 2009 at 3:44:53 pm
in the Apple Final Cut Pro basics Forum
[brian paterson] "What does he mean by " the software compression after capture"? Also how much more disc space are we talking about. "
Meaning you capture your footage to HDV. Then you send all that footage through Compressor to convert to DVCPr | | | | |
| | | | Re: Learning the FCP basics
by walter biscardi on Oct 30, 2009 at 3:43:11 pm
in the Apple Final Cut Pro basics Forum
There are a lot of great tutorials here on the Cow.
Look up Jerry Hofmann's Book which was done way back for FCP 4 but it still holds up very well.
And DEFINITELY get Shane Ross' "Getting Organized in Final Cut Pro" available here in the Cow St | | | | |
| | | | Re: Virtual Sets for FCP
by walter biscardi on Oct 30, 2009 at 1:52:29 pm
in the Apple Final Cut Pro Forum
[Mark Petereit] "Spend your time learning your camera and getting your lighting right."
That's the part nobody gets, even some of the big professionals who shoot green screen and seem to forget to throw enough light on the actual green screen itse | | | | |
| | | | Re: Gamma change in SL
by walter biscardi on Oct 30, 2009 at 1:10:25 pm
in the Apple Final Cut Pro Forum
[Robin Kress] "After upgrading my system to SL, the movies i exporte from FCP 6, seem to become much lighter in their gamma value."
SL changed the gamma settings the computer displays to conform to standard PC settings. Your output on your extern | | | | |
| | | | Re: Blu-Ray for replication
by walter biscardi on Oct 30, 2009 at 12:37:52 pm
in the Apple Final Cut Pro Forum
[eric pautsch] "Paid $100 for the second one when it first came out...now its $8..Eeek!! "
Paid $1,000 for the Sony BDP-S1 when it came out. Now the Samsung is under $200 most places and I would not be surprised to see a $99 or less BluRay player | | | | |
| | | | Re: OT: ATSC to put kabosh on loud commercials
by walter biscardi on Oct 30, 2009 at 12:23:05 pm
in the Apple Final Cut Pro Forum
[Jeremy Garchow] "I agree, I think this will be a broadcaster responsibility."
Almost has to be. We deliver all our shows to their specs. So obviously if all the programming is playing at the same volumes, the content providers are doing their j | | | | |
| | | | Re: Compression time for H.264
by walter biscardi on Oct 30, 2009 at 12:07:25 pm
in the Apple Final Cut Pro Forum
I've actually got a demo unit of that Compress HD from Matrox sitting here and plan to install it tonight for testing. A 92 minute feature doc takes approx. 3 hours to compress to 640x360 using a one pass at about medium quality and 22khz audio. Go | | | | |
| | | | Re: Why is Color 1.5 not sending back the grades to FCP7?
by walter biscardi on Oct 30, 2009 at 11:01:57 am
in the Apple Color Forum
[Chris Crutchfield] "i am having this exact issue and I cannot for the life of me figure out why. I don't know what nesting is. I just know I spent a great deal of time on a color grade and NONE of the riles round trip back to final cut properly. any | | | | |
| | | | Re: Blu-Ray for replication
by walter biscardi on Oct 30, 2009 at 4:08:25 am
in the Apple Final Cut Pro Forum
[Arnie Schlissel] "Even the big budget titles from Hollywood come with a little note that they're not guaranteed to play on all players. "
That's a CYA statement since BluRay players require the end use to actually update them from time to time. | | | | |
| | | | Re: Premiere Pro CS4 4.1 Project -> Apple Color
by brett stumpp on Oct 30, 2009 at 3:36:26 am
in the Apple Color Forum
hey guys, there is a problem with final cut pro and color when using uncompressed files. There will be a gamma shift when going back from color to final cut pro. Blacks go from 0 to 10. I just had this happen to me with uncompressed quicktimes, and h | | | | |
| | | | Re: OT: client monitor
by walter biscardi on Oct 30, 2009 at 12:20:47 am
in the Apple Final Cut Pro Forum
[Don Walker] "To save money if I buy a 720P monitor as opposed to a 1080P monitor, am I going to run into serious issues when I show a 1080i production on it for a future client. Buy the way the Panasonic monitor is fed, the HD/SDI signal off the Kon | | | | |
| | | | Re: MAC PRO QUAD for final cut 3
by walter biscardi on Oct 30, 2009 at 12:15:50 am
in the Apple Final Cut Pro Forum
[Kevin Monahan] "and it's not called "Final Cut Studio 3' either! ;-) "
It is on the box. It says FC Studio 3 on the side on the little label.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Product | | | | |
| | | | Re: OT: ATSC to put kabosh on loud commercials
by walter biscardi on Oct 29, 2009 at 10:32:49 pm
in the Apple Final Cut Pro Forum
Most of the offenders are when it switches from a 5.1 surround sound show to a local, 2 channel only spot which is pushed out almost exclusively through the Center speaker. That's what we notice here.
Walter Biscardi, Jr.
Editor, Colorist, Directo | | | | |
| | | | Re: FCP 7.0.1 crashes with AJA Video Output Plug-in
by walter biscardi on Oct 29, 2009 at 5:02:20 pm
in the AJA Kona Forum
[Joseph Owens] "All in all I still find it stunning that Apple gets away with classifying this trash as a "Pro" application, but apparently there is no regulation other than constant rejection by the broadcasters. The ones with standards, anyway. "
| | | | |
| | | | Re: FCP 7.01 Instability
by walter biscardi on Oct 28, 2009 at 3:22:37 pm
in the Apple Final Cut Pro Forum
Ah, might have something to do with Motion files then. I never bring Motion files into the FCP timeline unless I render out the movies first. I've never found bringing Motion files directly into FCP to render to particularly stable.
And I don | | | | |
| | | | Re: FCP 7.01 Instability
by walter biscardi on Oct 28, 2009 at 3:13:26 pm
in the Apple Final Cut Pro Forum
Stable here. Working 720p / 60 ProRes on my system. 1080i / 29.97 ProRes on a 2nd system. ProRes SD on the third system. 720p / 60 ProRes on the fourth system.
I've had exactly two crashes since we updated.
Walter Biscardi, Jr.
Editor, Colo | | | | |
| | | | Re: 7.0.1 blade not snapping properly
by walter biscardi on Oct 28, 2009 at 10:01:43 am
in the Apple Final Cut Pro Forum
Blade tool works as normal here.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media
"Foul Water, Fiery Serpent" now in Post.
Creative Cow Forum Host:
Apple Final Cut | | | | |
| | | | Re: [OT] Reuse Digibeta
by walter biscardi on Oct 28, 2009 at 2:32:42 am
in the Apple Final Cut Pro Forum
[Arnie Schlissel] "Beta SP and miniDV, less so. Just make sure that you do a little more QA after you lay off to the reused tape. "
I would definitely disagree with MiniDV. Those tapes are barely good enough to be used once.
BetaSP you have | | | | |
| | | | Re: Finally tested the Tangent Wave
by walter biscardi on Oct 28, 2009 at 1:48:34 am
in the Apple Color Forum
[Joe Murray] "Just curious if there's a way to program one of the keys to turn a secondary on and off with the Wave"
Yep, there's a Secondary Toggle which is one of the functions we programmed to an ALT key.
Walter Biscardi, Jr.
Editor, C | | | | |
| | | | Apple Color | Introducing: Stop Staring and Start Grading with Apple Color
Allow us to introduce one of the most eagerly anticipated DVDs in Creative Cow Master Series history, Walter Biscardi's overview of Apple Color. Building on nearly 20 years of professional editing experience, as well as years of experience with Apple Color (and FInal Touch HD before it), he's got the perfect perspective to make working in Color easier than you imagined. It's the disk he wished he had when he started using Color.
Feature
Author: Walter Biscardi |
| | | | |
| | | | Apple Color | Apple Color: Building Vignettes in the ColorFX Room
Apple Color offers a variety of tools for custom effects, each with different features. Answering a commonly asked question, broadcast editor and Creative Cow leader Walter Biscardi shows you how to take advantage Colors node-based compositing to create a vignette in the ColorFX room.
Tutorial, Video Tutorial
Author: Walter Biscardi |
| | | | |
| | | | DaVinci - NEW ! | A Letter From Grant Petty
The fastest breaking news that is sure to rifle through IBC the quickest? Well, for starters, try this announcement from Blackmagic Design, who have acquired DaVinci Systems, the pioneering color system that for many years has been one of the dream systems in the marketplace. In the letter to employees below, Grant Petty discusses the acquisition with his team members.
Editorial, Feature, People / Interview
Author: Ron Lindeboom |
| | | | |
| | | | DaVinci - NEW ! | DaVinci - Rebuilding the Brand for the 21st Century
How's this for chutzpah? The DaVinci customers at Blackmagic Design buy the company, to set it back on the right path - making big investments, expanding service while slashing fees, accelerating development, and rebuilding Da Vinci from their own experience as its customers.
Feature, People / Interview
Author: Grant Petty |
| | | | |
| | | | DaVinci - NEW ! | Blackmagic Design Buys DaVinci: Part 1
In this article, Tim Wilson begins his series on the big news already beginning to leak from IBC 2009. Blackmagic Design has acquired da Vinci Systems and yes, you read that right. BMD owns and will be developing and marketing da Vinci's award-winning colorgrading technology. What's in store? Here's Part One of Tim's look at the fast-breaking news...
Editorial, Feature, People / Interview
Author: Tim Wilson |
| | | | |
| | | | DaVinci - NEW ! | Cinefilm's Ron Anderson: da Vinci User Since 1986
In this article, Tim Wilson talks with da Vinci user Ron Anderson in his Part Three look at Blackmagic Design's acquisition of da Vinci Systems. Ron Anderson’s relationship with da Vinci has also taken places over several decades, starting as a customer, and evolving into demo artistry even while he continues working with da Vinci systems at Atlanta’s Cinefilm.
Editorial, Feature, People / Interview
Author: Tim Wilson |
| | | | |
| | | | DaVinci - NEW ! | Blackmagic Design Buys the Power of daVinci: Part 2
In this article, Tim Wilson continues his series with his Part Two look at the big news leaking from IBC 2009. Blackmagic Design has acquired da Vinci Systems and with that acquisition comes what Tim refers to as The Power of da Vinci. And for the many that have used da Vinci over the years, they know full well the power of which Tim writes. And for those who might need an introduction to this power, Tim offers these words...
Editorial, Feature, People / Interview
Author: Tim Wilson |
| | | | |
| | | | DaVinci - NEW ! | Blackmagic & DaVinci, and What It Means
Blackmagic founder Grant Petty says that the company's purchase of DaVinci systems actually fits exactly what they have done all along: build the kinds of products they have needed for their own postproduction business, and being the kind of company they'd want to do business with. While important details are still being worked out, Grant has some very clear visions about how these practices can help rebuild one of the industry's most respected brands.
People / Interview
Author: Grant Petty |
| | | | |
| | | | Apple Final Cut Pro | Final Cut Studio 3 is here, and all is good!
Our man in Nepal, Jiggy Gaton, likes to live for danger. He installed a major software upgrade mid-project, with virtually no preparation, just to see what would break. Lo and behold, it all worked! And the more Jiggy works with it, the better he's liking it. Join him in this Creative COW, Real-world, Real-time Report on Final Cut Studio 3.
Review
Author: Jiggy Gaton |
| | | | |
| | | | Business & Marketing | Heavy Iron
How can a creative business survive, much less prosper, these days? DigitalFilm Tree's Zed Saeed offers a possible solution that combines embracing new, disruptive, low-cost technologies, and investing wisely to add value.
Editorial, Business
Author: Zed Saeed |
| | | | |
| | | | Apple Color | Saturation Curves in Color
In this Apple Color tutorial, Richard Harrington along with color expert Robbie Carman create the Pleasantville effect in Apple Color. Using the secondary curves, specifically the saturation curve, to isolate just the yellow in a taxi cab everything else in the video clip can then be desaturated to create this popular effect.
Tutorial, Video Tutorial
Author: Richard Harrington |
| | | | |
| | | | Apple Color | Tracking Vignettes
In this Apple Color tutorial, Richard Harrington along with color expert Robbie Carman teaches how to use tracking to have vignettes follow a person around the screen to simulate a spotlight effect.
Tutorial, Video Tutorial
Author: Richard Harrington |
| | | | |
| | | | Apple Color | Custom Shapes in Color - Final Cut Help
In this Apple Color tutorial Richard Harrington and guest Robbie Carman will use user defined shapes to form vinettes to perform a secondary color correction. Learn about where primary and secondary color correction really occurs in Apple Color and other tips and tricks.
Tutorial, Video Tutorial
Author: Richard Harrington |
| | | | |
| | | | Creative COW Magazine feedback | One Team. Three Network Shows. Every Week.
Creative Cow Contributing Editor Zed Saeed has helped create pioneering Final Cut Pro workflows for major feature films and episodic TV production. This year, he and the team at DigitalFilm Tree faced their biggest challenge yet: posting 3 major shows, for 3 different networks, every week -- with the same small team that used to do just one. How do they do it? World-class workflow management.
Feature
Author: Zed Saeed |
| | | | |
| | | | Apple Final Cut Pro | The Forbidden Kingdom: Jackie Chan. Jet Li. FCP.
A Creative Cow Exclusive! DigitalFilm Trees Zed Saeed has helped create pioneering digital workflows built around FCP, custom-designed for large-scale productions. Their biggest challenge so far has come on The Forbidden Kingdom, an epic film partnering Jackie Chan and Jet Li for the first time -- with production and post in China, Korea, Australia, and multiple locations in the US. Heres a look at how they put it all together with FCP, Xserve, XML, Color, file-based workflows...and hard, hard work.
Feature
Author: Zed Saeed |
| | | | |
Podcasts | | | | creative cow extras podcast
Colorgrading Monitors: What Works, What Doesn't
In this Creative COW extras podcast, Walter Biscardi and Ron Anderson discuss one of the most discussed topics in the Apple Color forum, color grading and monitors. Ron Anderson is a colorist with CineFilm Atlanta. | | | | |
| | | | creative cow podcast
Episode #085 - July 20, 2009
Producing Documentaries with Walter Biscardi, Panasonic AG-HPX300 update, LinkOptimizer for Adobe InDesign, Amazon ironically deletes 1984 from Kindle, Astroscope DSLR night vision, Microsoft Silverlight 3, Expression 3 and more creative news. | | | | |
| | | | final cut help tutorials podcast
Tracking Vignettes
In this Final Cut tutorial podcast, Richard Harrington along with Robbie Carman use Apple Color to teach how to use a stylized vignette sort of like a power window that will use tracking to follow a person around a scene. | | | | |
| | | | final cut help tutorials podcast
Saturation Curves in Color
In this tutorial, Richard Harrington along with Robbie Carman use Apple Color to create the stylized Pleasantville effect where one thing in the image is in color and everything else is desaturated. | | | | |
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