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Your basic troubleshooting and discussion forum for all things Final Cut Pro X. If you are having issues with FCP 7 and below, post it in Cafe LA.
Re: OT: Arri Alexa records to ProRes - 14 years ago
Things like iPad and iPod touch have in-built support for h264 decode which makes it a useful codec for those purposes. I don't know the full details yet, but I'm suggesting there may be some advantages to h264 that we have not thought about yet. Graemeby Graeme Nattress - Café LA
Re: OT: Arri Alexa records to ProRes - 14 years ago
Some systems have no problems with h264 for offline though. And remember the words used were "the first of which" - which implies.... Also, a though could be that copying a very small file (highly compressed h264 suitable for streaming) and then transcoding to something else may even be quicker than copying a larger "ready to edit" file to begin with..... (Especially if oveby Graeme Nattress - Café LA
Re: OT: Arri Alexa records to ProRes - 14 years ago
Nobody knows on the Alexa yet. Yes, M-X is improved over M too. Graemeby Graeme Nattress - Café LA
Re: OT: Arri Alexa records to ProRes - 14 years ago
Physical mirror shutters have the same "rolling shutter problem" as any rolling shutter - just slightly out of focus. They still record a split image on a non-synced flash, and still lean things over to the side on a pan. The difference is that the effective roll speed of a mirror shutter is faster than the rolling shutter on most digital cameras. FYI - both CMOS and CCD can have globy Graeme Nattress - Café LA
Re: OT: Arri Alexa records to ProRes - 14 years ago
I'd not count Arri's eggs before they've hatched though. You're right it's going to be a great camera for many people, but everything else waits to be seen. Graemeby Graeme Nattress - Café LA
Re: OT: 60i vs 30psf, or "Why does my footage look like butt?" - 15 years ago
Scanners!!!!by Graeme Nattress - Café LA
Re: OT: 60i vs 30psf, or "Why does my footage look like butt?" - 15 years ago
Strypes mentioned gamma above in reference to Poynton, so was answering on that aspect. Film people mean gamma to mean something different to what we talk about in the video world. In Filmspeak gamma is the slope of the linear section of the film's log curve. Graemeby Graeme Nattress - Café LA
Re: OT: 60i vs 30psf, or "Why does my footage look like butt?" - 15 years ago
"Note that absolutely nothing is recorded at 2/59.94ths and 4/59.94ths" - gives an automatic assumption of a 1/60th (or 180 degree in filmspeak) second shutter. Normally interlaced video is shot with a 1/60th shutter also, but because the field rate is 60 fields per second, that means it's effectively a 360 degree shutter. "A nerd would say a this point that the temporal resolutby Graeme Nattress - Café LA
Re: OT: 60i vs 30psf, or "Why does my footage look like butt?" - 15 years ago
CRT response is desirable because if it wasn't the case, TV wouldn't work to produce a reasonable picture. Back in the day when TV came out, we didn't have digital technology, or compression or any of the magic we use today. But the CRT effectively had in an "undo tonal compression curve" due to the very nature of the electron beam / phosphor response, and the tonal curve it undoes is sby Graeme Nattress - Café LA
Re: OT: Gamma and linear light - 15 years ago
There's also the "compression" element to gamma that actually makes 8bit video "work" without excessive posterization by suppling more code values to the shadows than the highlights in a perceptually relevant manner. Graemeby Graeme Nattress - Café LA
Re: OT: March 24 lafcpug meeting maybe the last one - 15 years ago
Ok. I'm shocked. Graemeby Graeme Nattress - Café LA
Re: Pan and Zooming in on RED footage - 15 years ago
The resolution advantage on the RED makes for nicely sharp pro res 1080p or 2k, however the true resolution advantage is when you have access to a 4k decode. If you want to be really able to push a shot in, beyond what you can do with your HD decode, you'd need to get that R3D decoded to 4k and use that. Graemeby Graeme Nattress - Café LA
Re: carpel tunel and editing - 15 years ago
Indeed talk to your doctor. I don't think touchscreen anything would make this better - just worse. A good wacom is, for me, the way to go. Others swear by trackballs. Graemeby Graeme Nattress - Café LA
Re: Happy New Year! - 15 years ago
And a Happy New Year from us up north!by Graeme Nattress - Café LA
Re: Nattress plug-in not rendering properly - 15 years ago
Jeff, are you using any different settings on that particular clip or are there any other filters on that clip. Email me graeme@nattress.com and I'll help you through it. Graemeby Graeme Nattress - Café LA
Re: tablet anyone? - 15 years ago
A big recommend from me for the tablet. I use them on all my macs for everything. I wouldn't be without them. Graemeby Graeme Nattress - Café LA
Re: tablets ? - 15 years ago
That's awfully fast considering the world records indicated in the wikipedia entry Graemeby Graeme Nattress - Café LA
Re: Has anyone used Ferguson Hill speakers? - 15 years ago
Bad news is that just as there's no perfect video monitor, there is no perfect audio monitor. What you have to learn to do is have seen enough monitors, heard enough speakers to see/hear through the deficiencies in what you're using. Indeed, what is worse still, is that unless you have a reference to what is "typical" for the end user, you could actually be making a worse picture byby Graeme Nattress - Café LA
Re: Has anyone used Ferguson Hill speakers? - 15 years ago
uses the same Lowther DX3 I use in my hifi speakers. I have no doubt that they'd sound quite incredible. There are oh-so-many ways to build loudspeakers, not least because no one design is perfect. Single drivers like the above that I use, need no cross-over so you hear no cross-over. Because the horn acts as a transformer to match to a room, you're not using resonance to do the bass, and altby Graeme Nattress - Café LA
Re: Need to convert to 1080/50i. Should I shoot at 1080/60i or 1080/24p? - 15 years ago
Yes, they work in HD for 50i to 60i and 60i to 50i conversions. And 60i to 24p too. Remember to set field orders to upper. However, best way, visually, to convert between "NTSC" and "PAL" is to pretend you're shooting film at 24p, which gets converted to NTSC via standard 3:2 pulldown and to PAL by speeding up 4%. The conform option in Cinema Tools is the best way to do theby Graeme Nattress - Café LA
Re: Why shoot 24p if TV only shows 29.97? - 15 years ago
Install instructions here: Usage movies here: They don't work like "normal" filters - hence the little movies to show you how. Graemeby Graeme Nattress - Café LA
Re: Why shoot 24p if TV only shows 29.97? - 15 years ago
Why 23.98fps timeline - because when movies have 3:2 pulldown added, it gets added once at the end. That means that the cadence, or pattern of 3:2 doesn't change over time. It's constant. That's often a broadcast requirement too. It also means you have access to a 24p without interlace version that's suitable for web delivery, or to make a 24p dvd which has a better picture due to lower fps and nby Graeme Nattress - Café LA
Re: Why shoot 24p if TV only shows 29.97? - 15 years ago
If you want to convert to 24p and edit in a 24p timeline, use Standards Converter. Film Effects does 60i to 24p with 3:2 pulldown into a 29.97fps timeline. As always, try the demo, see that you like it first before purchase! Graemeby Graeme Nattress - Café LA
Re: Why shoot 24p if TV only shows 29.97? - 15 years ago
Sure, here's "academic pricing" CPN0274329138 - 20% off for the next 20 customers! And it's not even xmas. Graemeby Graeme Nattress - Café LA
Re: Why shoot 24p if TV only shows 29.97? - 15 years ago
When you shoot 60i, the shutter is usually 1/60th, as in fully open. With film at 24fps, the shutter is usually 1/48th, or half open. Motion blur is more on video than it is film. Graemeby Graeme Nattress - Café LA
Re: Why shoot 24p if TV only shows 29.97? - 15 years ago
Well, say you shot on 35mm film at 24fps and wanted to put that on TV? You'd take the standard route of adding 3:2 pulldown to the 24fps frames and with a slight speed adjustment, you'll get it onto 29.97fps interlaced video tape. So, if you want your shot on video film to look similar to a film on TV, you need to follow the same route! Not least 24p makes for great web movies (less fps = bby Graeme Nattress - Café LA
Re: Interlaced/progressive - 15 years ago
G Map Frames is a plugin I created: To de-interlace, you can try the in-built FCP filters, or a 3rd party one like mine: Graemeby Graeme Nattress - Café LA
Re: Interlaced/progressive - 15 years ago
Even on many cams that shoot progressive, the image is stored in an interlaced format, but with each field representing the same point in time, rather than two spaced intervals in time. So, capture should be identical for both. It's very hard (and slow) to convincingly convert progressive footage to look like and be interlaced. So, I'd instead take your interlaced footage and make it lookby Graeme Nattress - Café LA
Re: Uncompressed 10-bit SD file - 15 years ago
The issue with the 24p effects is simple when you get it: think in terms of the FCP effects pipeline. At the root of it is the video. The output of the filter stack makes a new video, effectively, in sync with the original. in -> process -> out. Simple enough, unless you start to manipulate time.... If you do 3way CC then 24p effect, all the frames in that clip have the 3way CC, and aby Graeme Nattress - Café LA
