| | | | Re: Video I/O Solutions for Macbook Pro
by Ben Holmes on Nov 22, 2009 at 9:08:22 pm
in the Apple Final Cut Pro Forum
[Shane Ross] "Does that MacBook Pro have the Express34 slot?"
Nope - he says it's the SD card one.
The simple fact is that by removing the expresscard slot from the 15" MBP, Apple have rendered it useless as a video machine - as Shane says, you | | | | |
| | | | Re: This FCP forum is getting too bloated
by Ben Holmes on Nov 22, 2009 at 1:50:43 pm
in the Apple Final Cut Pro Forum
[walter biscardi] "Unfortunately this forum is a dumping ground for pretty much any topic because people are either too lazy to Search for their answer or to look for a more appropriate forum. "
Absolutely right - my only comment would be that by | | | | |
| | | | Re: This FCP forum is getting too bloated
by Ben Holmes on Nov 22, 2009 at 9:59:04 am
in the Apple Final Cut Pro Forum
[Zane Barker] "How much experience to you have with FCP. Select one of the following. *None *3-6 Months With Training Class *3-6 Months With No Training *More then 6 months (or other similar things) If they select none, or one with no training then t | | | | |
| | | | Re: Frame shift of two comps. Why???
by Dave LaRonde on Nov 18, 2009 at 2:02:42 pm
in the Adobe After Effects basics Forum
[Katherine Landgrebe] "I have two compositions. Both have 24fps, both are 2 minutes in length."
I doubt very much that the frame rate should be 24. Unless you're working with an image sequence taken from the source celluloid film or footage a RED | | | | |
| | | | Master Clips
by chris rogers on Nov 17, 2009 at 7:06:57 pm
in the Apple Final Cut Pro Forum
Hello Cows,
I got a quick question..
I'm swapping out the embedded Red Camera Audio sound on Prorez Quicktimes with the mono mix off the DEVA.
But, when I relink the clip and make it a "Master" and drag it back out of a bin and down on th | | | | |
| | | | Re: several shots untransferable from SDHC card
by Marten Berkman on Nov 15, 2009 at 11:21:27 pm
in the Sony EX Series XDCAM Forum
Thanks Craig!
I find it interesting the camera firmware does not inhibit powerdown or recording when a writing action is not finished (a phenomenon I've grown accustomed to in my digital still camera!). I will definitely keep my eyes on the slot l | | | | |
| | | | Re: Import ProRes 422 into FCP 5?
by Aleks Brodar on Nov 14, 2009 at 4:55:29 am
in the Apple Final Cut Pro Forum
Similar problem:
Was given pro res 422 files, (converts from red camera files) to edit in FCP5.
Tried to instal pro res decoder that you mentioned above,, but computer didn't allowed me to do it.
Reason:
I already have a newer version instal | | | | |
| | | | Re: OT: Am I over-reacting?
by Mike Cohen on Nov 11, 2009 at 1:52:50 am
in the Art of the Edit Forum
I went to a film festival back in the Spring of 09. One of the comedic shorts had written prominently in the credits "Shot on the RED camera."
It was one of the worst 10 minutes of video I have ever seen. And aside from two nicely blocked dolly sh | | | | |
| | | | HVX & RED (once again)
by Maximilian Greenstein on Nov 10, 2009 at 10:32:44 am
in the Panasonic HVX - HPX (P2) Forum
Hi,
If anyone has an advice it would be much appreciated...!
I'm doing a production next week using the Red One shooting 4K and HVX200.. The Red will be used for various elements shots that will be keyed and tracked, and the HVX will be used to | | | | |
| | | | Re: OT: Am I over-reacting?
by Scott Sheriff on Nov 9, 2009 at 6:58:22 pm
in the Art of the Edit Forum
Thanks Grinner & Mike,
Ah, yes, but my problem is that I have already accepted the invite, which initially came directly from the User Group (which I'm a member of) via their email. You know in a down economy, not all of us are as busy as we would l | | | | |
| | | | Re: OT: Am I over-reacting?
by grinner hester on Nov 9, 2009 at 2:33:51 pm
in the Art of the Edit Forum
I don't guess I understand the question.
If someone is inviting you for a gig but have no budget for you, it's as easy as saying "sorry, I have to work."
Does it matter if they approve what you shoot on when paying bills they've admitted they can't | | | | |
| | | | Help required for animation workflow
by Will Snow on Nov 8, 2009 at 6:47:50 pm
in the Adobe After Effects Forum
Hello!
I've found various tutorials and topics on CreativeCOW extremely helpful before, and have now decided to get involved myself.
I am embarking on my own private animation project, have almost neared the end of storyboarding, and am now sor | | | | |
| | | | Audio Frame Rate Problem?
by Stephen Lubin on Nov 6, 2009 at 10:15:40 pm
in the Apple Final Cut Pro Forum
Hello!
I'm having a problem with my audio in final cut. I'm working with 24p footage from the RED Camera. Somehow the audio cut out for some clips, so someone gave me the audio I needed to sync it up. I synced everything up with the clapper, an | | | | |
| | | | Re: OT: End of Prosumer Camcorders???
by Zane Barker on Oct 31, 2009 at 5:42:14 am
in the Apple Final Cut Pro Forum
[Dave LaRonde] "but doesn't anybody GET IT? Canon knows how to make video cameras!"
[Dave LaRonde] "Have you forgotten that Canon knows how to make video cameras, yet they chose to put all this miraculous stuff in a still camera? "
Not sure YO | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Greg Pilon on Oct 26, 2009 at 8:31:13 pm
in the Apple Color Forum
I have heard of people having problems with using the proxies. Log&transfer files to pro res for your offline, then online your footage back to native red and send to color. Grade, export out 4444 and then keep that file as your master, and make a 10 | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Nick Franco on Oct 26, 2009 at 8:25:24 pm
in the Apple Color Forum
Thanks that make a lot of sense.
at the moment we are looking at a Mac Pro with an ATI graphics card, a kona 3 and breakout box, with an Eizo color edge CG232W monitor.
i suppose the thing to do would be to edit in the low rez Red proxy files | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Greg Pilon on Oct 26, 2009 at 7:52:06 pm
in the Apple Color Forum
I wouldn't convert and than grade at 1080. You have 4k res when you go to color, because it will link back to your r3d file (think of it like your film negative) grade in color and then export out 4444. Take that and convert to 1080 file if need be. | | | | |
| | | | Re: IO Express HDMI out not working properly
by Jorge Torrens on Oct 25, 2009 at 4:53:22 pm
in the AJA io Forum
Hi Jeremy, sorry but probably is my lack of command of the english language, spanish is my mother tonge, I'm using true progresive material originated at 4k in a RED camera at 24 fps and converted to prores 422 at 1080p also in 24 fps. and in a 1920x | | | | |
| | | | Re: Can't get smooth export video
by Ben Holmes on Oct 21, 2009 at 11:48:08 pm
in the Apple Final Cut Pro Forum
What codec are you exporting as? Animation codec? What drive array are you playing the video off? What system? What other applications do you have open as well as quicktime player?
Edit Out Ltd
----------------------------
FCP Editor/Trainer/Syste | | | | |
| | | | Re: red camera and the new imac
by gary adcock on Oct 20, 2009 at 9:38:27 pm
in the Apple Final Cut Pro Forum
[Matt Devino] "It should work OK as long as you put as much RAM in it as you can afford and get the faster quad-core. A mac pro with 8-cores is optimal. "
That is not the best advice,
YES, you can work with RED footage on any intel based mac | | | | |
| | | | red camera and the new imac
by Vanessa Pimentel on Oct 20, 2009 at 6:58:46 pm
in the Apple Final Cut Pro Forum
Hi!
I'm considering in buying the new imac for FCP editing, but I have some doubts about its performance with redcamera footage.
Does anyone know something about it?
Thanks,
Vanessa | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Jack Jones on Oct 19, 2009 at 12:20:06 am
in the Apple Color Forum
From what I've read you seem to be planning to output to 1080 stuff (or the psf equivalent). I also therefore assume you're planning on grading at a higher res and then downconverting to 1080.
If your target is 1080 then I, like the company I work | | | | |
| | | | Re: HD Backup Workflow
by Mads Nybo Jørgensen on Oct 17, 2009 at 11:57:49 pm
in the HD High-End Forum
Hey Bob,
Hear, Hear!
You are so right - sadly there is a large number of hard-ware sales people who would currently try and make you believe otherwise.
I recently advised a client to stay away from Sony EX (even if the sales guy thought that | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Patrick Inhofer on Oct 16, 2009 at 10:36:15 pm
in the Apple Color Forum
[Nick Franco] "yes we do want to do this in house, but we will be hiring a professional grader. I do grade but i'd like someone who has more experienced and has graded stuff we like. "
Here's a crazy idea:
Consult your colorist. S/He might have | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Uli Plank on Oct 16, 2009 at 12:26:49 pm
in the Apple Color Forum
Progressive or interlaced has NOTHING to do with how colors or contrast are reproduced!
I don't want to sound harsh, but my advice would be to hire a consultant, since you are missing a few very basic concepts about HDTV or cinema.
Director of th | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Nick Franco on Oct 15, 2009 at 10:33:05 pm
in the Apple Color Forum
HI Guys
Thank you for your help. it sound like the FSI is the way to go. and yes i know you can spend much more on a monitor. and it is without doubt something i will need for 1080i
the control surface is something i would buy for the grader a | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Alan Okey on Oct 15, 2009 at 10:09:55 pm
in the Apple Color Forum
[Nick Franco] "now if you can advise me where i actually need to spend money to achieve that, then that would be appreciated. and yes we are looking to pay real money for the right grader."
In that case, I would think that a pro colorist you hired | | | | |
| | | | Re: system set up for grading Red camera - progressive
by walter biscardi on Oct 15, 2009 at 10:07:04 pm
in the Apple Color Forum
[Nick Franco] "my theory is that because we are shooting Progressive if we calibrate apple or ezo monitors, there is no need to run the image through a Knoa 3 Card and an SDI Monitor potentially a 30 apple monitor should be good enough to grade. "
| | | | |
| | | | Re: system set up for grading Red camera - progressive
by Nick Franco on Oct 15, 2009 at 9:45:55 pm
in the Apple Color Forum
Thanks Uli
thats really helpful do you know how the apple monitor were calibrated? would the use the same calibration as a photographer?
the reason i ask and this is specific to film print, is that as we will be shooting progressive (each frame | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Nick Franco on Oct 15, 2009 at 9:36:53 pm
in the Apple Color Forum
Hi Alan
yea i think you got the wrong end of the stick.
yes we do want to do this in house, but we will be hiring a professional grader. I do grade but i'd like someone who has more experienced and has graded stuff we like.
this is not about | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Alan Okey on Oct 15, 2009 at 9:16:54 pm
in the Apple Color Forum
Is it less expensive for you to do this in house when you have no experience, or would the money be better spent by hiring a professional to grade and finish the project?
I assume that your desire to do the grading in house is out of financial nec | | | | |
| | | | Re: Conforming Red 4k edit
by Ben Holmes on Oct 15, 2009 at 2:39:52 pm
in the Apple Final Cut Pro Forum
You might get a more detailed answer in the RED forum here, but I'd suggest you follow the steps in the RED FCP Whitepaper which is downloaded with the FCS installer from RED support. It will take you through the options for re-linking media for in o | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Uli Plank on Oct 15, 2009 at 8:39:57 am
in the Apple Color Forum
What you need to understand is that your final destination is dictating your monitoring:
– If you are aiming for film-out, you need a projection system or at least a large monitor with a LUT developed for the specific process your service provider | | | | |
| | | | Film Editor/Post Supervisor
by Ray Chung on Oct 15, 2009 at 2:52:26 am
in the JOBS Wanted Forum
Hi,
Looking for any film or video projects in the NYC area that need an editor. Twelve years editing independent film and broadcast in NYC. I have also been the post-production supervisor on every independent film project I have ever worked on, | | | | |
| | | | Subclips and Cut Lists
by Brian Berdan on Oct 15, 2009 at 1:37:14 am
in the Apple Final Cut Pro Forum
Hi CC,
I'm new to FCP and my assistant keeps telling me he's been warned about problems getting a good cutlist when subclips are involved. Here's our workflow...
Red Camera
Using Sync-n-Link, which leaves excess track in the synched clips (a no | | | | |
| | | | Re: system set up for grading Red camera - progressive
by Nick Franco on Oct 14, 2009 at 11:50:03 pm
in the Apple Color Forum
Thanks for that, As you have figured we are not exactly sure how we are going to get it back to print or even if this will be necessary.
However we do want to grade in color and therefore my question still stands do i use an Apple monitor or an SD | | | | |
| | | | 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 |
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| | | | HD High-End | HD Unleashed
In this review from The Creative COW Magazine, Charles Papert, SOC, sets his Steadicam free with wireless, uncompressed HD using the IDX CAM~WAVE.
Review
Author: Charles Papert |
| | | | |
| | | | RED Camera | Exposing the RED: Perfect Exposure, Every Time
Director DP, REDtrepreneur, early adopter and obsessed student of the RED camera system David Battistella takes a closer look at how to hit the sweet spot on the RED sensor. David shows how understanding REDs inner workings will help you expose your scene just right, every time.
Feature
Author: David Battistella |
| | | | |
| | | | RED Camera | Dress for Success with RED
Not all production with the RED camera is Hollywood-scale. Craig Meadows is in a smaller market, doing mostly local and regional spots. Even though he's only had his RED for a short time, he tells you here about how it works, its workflow, and how it's already making a big difference for his clients.
Feature
Author: Craig Meadows |
| | | | |
| | | | RED Camera | 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 |
| | | | |
| | | | RED Camera | RED: Early Workflow Findings
In this real world video production RED Camera review from The Creative COW Magazine, Assron Zander discusses how The Brooks Institute students put RED ONE through the paces of a student production. Here are their findings.
Review
Author: Aaron Zander |
| | | | |
| | | | RED Camera | Seeing RED in Montreal: A Creative COW Real Time Report
None of the RED cameras have yet made their way into an owner's hands in Montreal, so Mathieu Marano helped arrange an introduction for the Final Cut Montreal user group. In this Creative COW Real Time Report, he shares the details of that meeting, as well as his first experiences with RED post-production workflow. Since this is a real time report, stay tuned for updates as Mathieu and the producers of Montreal learn more.
Review
Author: Mathieu Marano |
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| | | | HD High-End | Shane Ross Reports: IBC 2007
Creative Cow leader Shane Ross saved you a trip to Amsterdam -- further for some Cows than others, but pretty far for most. As always, you can count on Shane to tell you exactly what he thinks about what he saw: AJA, Sony XDCAM EX, Edit Share, and That Other Camera.
Feature
Author: Shane Ross |
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| | | | Art of the Edit | The Sonnet D800 RAID: Speed and Safety
Jeremy Garchow's business is growing. So was his storage, and the potential for disaster. SATA array are less expensive, but were they safe, even with redundancy? With the Sonnet D800 he's got a terabyte of uncompressed HD, with full protection, for a great price. Read on to see the details of his set-up, and see if SATA and the Sonnet D800 will work as well for you as it has for Jeremy.
Review, Feature
Author: Jeremy Garchow |
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| | | | Adobe After Effects | On Set Keying
In this article Creative Cow Leader Andrew Shanks plans to go through some of the software options for checking greenscreens on set (Lensfeed, Veescope and Conduit Live).
Review, Feature
Author: Andrew Shanks |
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| | | | RED Camera | Under the Gun with RED One
Dylan Reeve and a small team of New Zealand filmmakers had 48 hours to get their assignment, write a script, direct, shoot and post their film, then hand in the finished show...oh yeah, and refine their RED shooting and editing skills under the gun while trying to beat out 230 other teams! Sound wild? You have no idea....
Feature
Author: Dylan Reeve |
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Podcasts | | | | creative cow podcast
Episode #043 - October 01, 2008
Episode 043 - Engaging the Audience with Norman Hollyn, head of the editing track at USC Film School; Avid goes RED; Cakewalk Sonar 8; Windows Cloud OS; iPhone; YouTube updates; and more creative tech news, interviews and reports - www.creativecow.net | | | | |
| | | | creative cow podcast
Episode #047 - October 28, 2008
Inside George Lucas' Lucasarts with Michael Rubin, end of VHS, Avid buys Softimage, Microsoft Azure, RED rumors, Panasonic VariCam 2700 and more creative news and interviews - creativecow.net | | | | |
| | | | creative cow podcast
Episode #048 - November 04, 2008
Shooting with the RED ONE camera with Phil Bates from Artbeats, no new Apples, Circuit City closings, Ocula 3D, Boris Film Look, Jade 1.3, Genetica 3.0 and more creative news and interviews - creativecow.net | | | | |
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