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Are you correcting for broadcast? If so unless you find a good deal on something used, nothing sub 1K is going to give you the results you want, unless you can find someone offloading an old CRT broadcast monitor. you're also going to need something like a Kona or Blackmagic card to output a proper broadcast signal, the signal a regular video card puts out doesn't have the proper color space or gamma and if you're working interlaced it won't do that right either. Flanders Scientific comes well recommended everywhere I've looked, but their least expensive broadcast monitor comes in at 2500. If you aren't worried about 100% broadcast compliant, but just the best you can do, a lot of people swear by the Panasonic professional Plasma monitors, http://www.bhphotovideo.com/c/product/686607-REG/Panasonic_TH_42PF20U_Full_HD_Professional_Plasma_Display.html comes in just slightly over 1k, plus you will need a calibration tool.
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Jun 5, 2011 02:39
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It really just depends on where you are, the people who do the "Good Eats" show are a FCP shop. I do corporate work and we only use FCP. I've even freelance shot for a small place that does college sports, weddings, and event videos that refuses to use anything except Sony Vegas. If you can, become familiar with FCP, Avid, and Adobe Premiere, I personally wish I knew more than just FCP, it would open up a lot of jobs. Also if you can learn any of the color grading or motion graphics software, those open more windows too. My personal project for this year is to teach myself Color. On the subject of the upcoming new FCP, it is basically a ground up rewrite so if you can it would be good for you to learn both the current and the new version. A lot of people won't be switching to the new version any time soon (if some of the rumors about it's inability to import from/output to tape are true it may be quite a long time before FCP 7 disappears).
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Jun 21, 2011 01:38
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1st AD posted:I've heard that Apple is abandoning development of Color, so you might want to learn something like Resolve. I think the free version of Resolve comes out next month, so you can get your feet wet without spending cash on the software or the interfaces. There have been some screenshots and information leaked, Color and Motion are both surviving, though they may be rolled into FCP X. EDIT: Will check out the free Resolve though, hadn't heard about that, thanks for the heads up. Gunjin fucked around with this message at 02:07 on Jun 21, 2011 |
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Jun 21, 2011 01:58
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Gary Adcock has a good article up on Creative Cow based on his use of a prerelease version: http://library.creativecow.net/adcock_gary/FCPX/1 This is a 1.0 type app, there is a lot missing from FCP X right now. No lay out to tape, no export to OMF, no import/export of XML, no multicam, no native r3d support, new integrated Color not as full featured as current Color program. Apple is claiming they are going to push out updates through the app store very quickly to address these issues. Our current plan is to download it and use it side by side to learn, and do smaller projects while waiting for more features to be updated.
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Jun 21, 2011 16:18
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Based on what I've seen and read I want to know how Apple is going to handle collaborative workflows, with how FCPX handles media management and projects, it seems like it's impossible to have more than one person, especially people not connected to the same storage device, work on a project. It seems like it's a good program for a single person editing something by themselves, but so far it seems poo poo for a post house.
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Jun 22, 2011 22:12
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Set your sequence settings for audio to display "audio samples" Unlink the video & audio tracks In the timeline fly-out menu, checkmark "show audio time units" Right click the counter to show "audio samples" instead of miliseconds Now nudging the audio with alt+arrowkey or dragging the audio track should be subframe
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Jun 28, 2011 00:57
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bassguitarhero posted:I'm hard-pressed to tell on how exactly Compressor 4 is supposed to be better than 3 or 3.5. Everything I've read indicates that it really isn't. The fact that you have to copy all the presets from earlier versions is really annoying, and I don't understand what they were going for with that. Gunjin fucked around with this message at 04:28 on Jul 12, 2011 |
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Jul 12, 2011 04:26
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I'll second the Ken Burns effect idea, in my experience corporate clients love it.
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Jul 20, 2011 04:29
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Adobe bought IRIDAS today. I'd assume this means Adobe is going to fill the one of the last holes in their package and add color grading software.
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Sep 9, 2011 03:40
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ZarathustraFollower posted:So how can I learn about editing? I ordered a GoPro camcorder to film when I'm collecting insects, and I want to eventually be able to splice in video from a webcam, still images from a DSLR, and maybe redo audio. All on a PC. Maybe give the free version of Lightworks a try, I think it should be able to do what you need. I haven't played around with it yet personally, but I've been told it isn't bad. http://www.lightworksbeta.com/
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Sep 11, 2011 15:09
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Is this what is happening? http://blogs.adobe.com/toddkopriva/2009/03/prores-422-colors-in-after-eff.html
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Sep 17, 2011 20:35
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I say make the client pay to have it run through a Teranex, if not do it in Compressor, the quality will be better than doing it in FCP.
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Dec 30, 2011 01:59
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It's called screentone, there are tons of photoshop patterns/brushes for it, people use it to (try to) replicate the zip-a-tone effect from manga. Like FLX says, just put one overtop your video track.
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Jan 10, 2012 23:45
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XTimmy posted:So I'm having real issues in Resolve Lite. Couldn't get an answer from CreativeCow so I thought I'd try here. Resolve can't correctly handle XML from any version before CS 5.5.1, I think the recommended solution was to export an AFF from Premier or to scrub the XML through FCP 7 (which isn't an option for you on PC).
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May 12, 2012 03:24
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Maybe try MPEG Streamclip. You can set an in-point and out-point (I and O keys respectively), then export it out as whatever format you want. It's not a full featured editor, but if you're just cutting clips out of a larger file it should work OK.
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Aug 24, 2012 16:54
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At a minimum you are going to need DaVinci software, a control surface, a decent workstation, fast storage, a monitor for the GUI and a 10 bit broadcast monitor (some people add a 3rd monitor to put Resolves software scopes on). Resolve costs $1k for the software no control surface, it's a great deal for a pretty powerful program imo. For a control surface a Tangent Wave is the cheapest you're going to get at $1500 (that's what I have) it's functional no frills, but basic, it gets the job done but doesn't have all the hot keys and options of some of the more expensive panels. If you're on a budget it can't be beat though. If I had had a bigger budget personally I'd have gone with the full Tangent Element kit, that runs about $3500, but you get more features. You can drop $30k and get the full DaVinci panel, but really, that's the sort of thing that if you need it you wouldn't be asking questions on SA. Workstation you want the best you can reasonably afford, PC or Mac both are fine, the one advantage of PC is easier availability of comparable CUDA cards for software acceleration, if you're on a Mac you either have to go with a lovely (and overpriced) Quadro 4000 or find a NVIDIA GTX card with hacked firmware. You'll need a video capture/output card as well (something like a Black Magic Designs Decklink ~$900), you can't just hook up your broadcast monitor to the DVI out on your computer, the color space is wrong and your grades will look like poo poo. Storage needs are dictated by what type of footage you'll be working with. A good calibrated 10 bit broadcast monitor might be the most important thing (I'll mention that you can also go with projectors, but that is much, much more expensive and usually reserved for people doing stuff like 4k work for film out on motion pictures). About the least expensive option here is something from Flanders Scientific (the CM-170W or LM-2461W) they are inexpensive($3300-$5000), ship calibrated,and they offer free lifetime recalibration (you pay for shipping) but you can go up in price to $15,000+ for a Sony OLED & calibration equipment. I'm sure I'm forgetting several things, this is just kind of quick and dirty so to speak, and geared more towards low end. A lot depends on what type of productions you expect to be working on, the minimum specs needed for local TV spots or corporate training video type stuff is going to be different than if you're working with 4k r3d files.
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Jan 9, 2013 03:54
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The only thing I prefer in FCP7 to Premiere is the snapping behavior on the timeline.
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Jan 30, 2013 02:00
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Chitin posted:What's different about it? I haven't used FCP7 in like 18 months and it's already a fading memory. Mainly it's the Razor tool doesn't snap to the edit point in Adobe. It's not a huge deal, but it's annoying.
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Jan 30, 2013 22:00
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Just beware, you can open a CS6 project in CC, but once you have done so and saved, you can't open it in CS6 again.
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Aug 23, 2013 14:33
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Try Mpeg Streamclip, it's still going to take forever, but it should be able to do it. http://www.squared5.com
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Oct 4, 2013 19:45
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I won't do Mavericks until I have no choice. I only went from Snow Leopard to Mountain Lion a few months ago because I had to upgrade Telestream Episode to fix a work stopping bug. Since everything I use works on Mountain Lion I will stay with it until either I get a new workstation or I come across another work stopping bug that can only be fixed by upgrading.
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Oct 31, 2013 21:49
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I like it way better than FCP7, don't like FCPX at all, and have no problems with its snapping behavior.  I will admit exporting could be a better experience though.
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Apr 3, 2014 03:02
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Premiere still requires a third party plug-in for WebM right? I've been using Telestream Episode Pro and haven't noticed any issues with that particular codec.
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Aug 26, 2014 18:14
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FSI is pretty much the standard cost effective solution for color correcting. You can also look at one of the Sony PVM series OLEDs at a similar price point.
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Jan 2, 2015 20:58
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It would depend on your workflow too, I know last time I looked at going from Mac to PC it was a non-starter because of ProRes and how it's kinda lovely to deal with in a Windows environment.
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Mar 10, 2016 18:44
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Chill Penguin posted:Speaking of Resolve, has anyone run into strange timecode errors when importing an XML from FCP7? After setting up the project and importing, I get an error that 161 of 161 clips were not found. Trying to manually link them fails, as does searching the folder which contains them. So I'm left with a sequence with nothing but missing files, and identical errors for every file. Something along the lines of "No overlap between specified target timecodes and located file timecodes." I was getting the same thing with XML out of Premiere. I was in a hurry and a quick google didn't give me an answer so I just ended up just exporting my whole timeline as one video and using an EDL to chop it back up in Resolve.
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Oct 21, 2016 17:02
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Chill Penguin posted:I'm afraid that's what I'm going to have to do. I've never used an EDL, can you briefly outline what that process is? In 12.5 you export out your video and EDL from your editor, put the video in your Media Pool, go to the Edit tab then right click and go Timelines>Import>Pre-Conformed EDL 
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Oct 21, 2016 17:15
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Dr.McButtcheeks posted:Quick question for you all. What sites do you use to license stock music? I have no idea what it costs since I don't see the bills, but I love De Wolfe Music.
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Feb 9, 2017 17:26
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Anyone have any recommendations for a Mac compatible encoding software to replace Telestream Episode Pro? Nothing cloud based.
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Apr 6, 2017 18:14
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I don't think he's going to be able to get anything accurate enough to color grade with at that size with that budget, pretty much the cheapest broadcast monitor I know of in that size is a Flanders Scientific AM420 and those are like $4,500 (and 1920 x 1080). If it's just for client viewing and he's not actually grading off it I've found Sharp TVs give you more available picture adjustment options to get an image dialed in than most other brands. EDIT: I've heard good things about Samsung's 9000 line as well. Gunjin fucked around with this message at 16:27 on Apr 26, 2018 |
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Apr 26, 2018 16:23
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Can't speak to the LG OLED, not used them. OLED do have great blacks, but definitely look at whatever one you want in person, the consumer models sometimes have anti-glare coatings that can add a bit of a color tint. I'd say his best bet might be to just go down to the local electronics store and play around with a few of the demo models. Make sure they have easily accessible RGB adjustments and the ability to turn off all the various 240Hz and smoothing poo poo that manufacturers love to put on there, that the backlight bleed isn't crazy, and the viewing angle isn't poo poo.
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Apr 26, 2018 17:29
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We've got one of the 4k 12.5" Liliput monitors and it's fine, especially for the price. Might be a bit glarey if you're using it outside, but for indoor corporate stuff it's been solid. Color and contrast are good. I don't know about battery life, we always plug it into mains power.
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Mar 13, 2019 17:18
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Get the free Davinci Resolve, then just follow the first minute of this tutorial (you can ignore the color grading stuff): https://www.youtube.com/watch?v=YTaCbJtZHwM
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Mar 19, 2019 13:58
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I’m using a ShuttleXpress on OSX Mojave with Premiere and it’s been fine so far using the latest drivers. There is one thing you have to do to get it to recognize the latest CC update, but I’d have to be at my work computer to tell you exactly what it is you have to do (it was relatively easy, something like a couple button clicks).
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Apr 19, 2019 22:38
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I doubt it'll work, the camera port is USB-C 3.1 generation 1. I've been using a Samsung T5 with ours and it's been good to go so far.
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Jun 18, 2019 04:11
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Alan Smithee posted:How much time you get out of it shooting raw? I'm using mains power for most everything, if I'm using the gimbal I just use some Canon LP-E6 batteries (use actual Canon ones, I've found generic ones don't work as well), I don't really need to do long shots where I can't plug in. Using the 500 GB SSD these are the record times the camera gives, Constant Quality is obviously going to be a more rough figure since it's a variable bitrate: Constant Quality Q0 4k DCI 24 FPS = 76 minutes Q5 4k DCI 24 FPS = 305 minutes Q0 4k DCI 30 FPS = 61 minutes Q5 4k DCI 30 FPS = 245 minutes Q0 1080p 24 FPS = 320 minutes (sensor is windowed in 1080 RAW so for 1080 I usually use ProRes) Q5 1080p 24 FPS = 1242 minutes Q0 1080p 60 FPS = 129 minutes Q5 1080p 60 FPS = 510 Minutes Constant Bitrate 3:1 4k DCI 24 FPS = 76 Minutes 5:1 4k DCI 24 FPS = 128 minutes 8:1 4k DCI 24 FPS = 204 minutes 12:1 4k DCI 24 FPS = 305 minutes 3:1 4k DCI 30 FPS = 61 minutes 5:1 4k DCI 30 FPS = 102 minutes 8:1 4k DCI 30 FPS = 163 minutes 12:1 4k DCI 30 FPS = 245 minutes 3:1 1080p 24 FPS = 320 minutes 5:1 1080p 24 FPS = 530 minutes 8:1 1080p 24 FPS = 840 minutes 12:1 1080p 24 FPS = 1242 minutes 3:1 1080p 60 FPS = 129 minutes 5:1 1080p 60 FPS = 214 minutes 8:1 1080p 60 FPS = 342 minutes 12:1 1080p 60 FPS = 510 minutes If you want any other combinations just let me know. Gunjin fucked around with this message at 14:24 on Jun 18, 2019 |
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Jun 18, 2019 14:20
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