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Re: OT: Canon EOS 5D - 15 years ago
I for one know how hard it is to put decent compression in camera :-) It's actually very tricky indeed.by Graeme Nattress - Café LA
Re: The Color Curve - 15 years ago
Adjusting luma by teaking a "Y" curve looks different to adjusting luma by applying the same curve equally to R, G & B. You use each method as appropriate. Adjust RGB curves darker, for instance, will increase apparent saturation. Graemeby Graeme Nattress - Café LA
Re: Mark II footage mixed with HVX footage - 15 years ago
As Jeff points out, the 5d2 shoots 30.00fps only, whereas video cameras shoot the NTSC rates, which are 1000/1001 of the integer frame rate, or approximately 29.97fps. The second thing is that a video camera normally shoots at a shutter that is fully open, or, if trying to look filmic, half open. The 5D2 is geared towards aiming for a 1/30th shutter, which is the equivalent of fully open. It'sby Graeme Nattress - Café LA
Re: Converting SxS cards from source to ProRes - 15 years ago
If you've tried the FCP RED workflow, then you'll know it's really just like any other data-centric format. You put the card in the card reader, log and transfer, edit. Very simple. Only that treats the RED as a video camera, rather than a RAW camera. So, choose "native" and do the same as above, only when it comes time to grade, you send to Color and get the RAW data to work from. It'by Graeme Nattress - Café LA
Re: 24p Digibeta - 15 years ago
Did you shoot 24p, or 24pA and remove the pulldown and edit on a 23.98fps timeline? If you shot 24p, then it's really 29.97fps anyway. If you shot 24pA, you can add the pulldown back in to go to digibeta, and then, if needed, capture and remove the pulldown should you need to get back to the 24p frames. Graemeby Graeme Nattress - Café LA
Re: red camera footage - color correct before or after - 15 years ago
With the new FCP->Color native workflow - that's the way I'd go. It works great. You bring in the "native" R3D files into FCP, wrapped as Quicktime, edit. Then send to Color for your CC, which works back to the RAW data for the best precision. Graemeby Graeme Nattress - Café LA
Re: Doesn't anyone shoot 24p? - 15 years ago
If you shoot 24pA, then FCP removes the pulldown and CT is not needed. Then you can edit as 24p to make a 24p DVD, or web movie or go to film. Graemeby Graeme Nattress - Café LA
Re: Doesn't anyone shoot 24p? - 15 years ago
DVX does shoot true 24p. It records it with either of two pulldown patterns, normal or advanced. Advanced is the correct one for your needs. FCP has an "easy-preset" for Adv 24p capture. This removes the pulldown on capture and leaves you with 24p media. Edit on a DV 24p timeline, which again, FCP has an easy preset for. Details here: Graemeby Graeme Nattress - Café LA
Re: converting 25p to 24p - 15 years ago
Clip needs to be in a nice editable I-frame only codec. Try Uncompressed or ProRes.by Graeme Nattress - Café LA
Re: converting 25p to 24p - 15 years ago
Film Effects does very nice deinterlacing on the timeline in FCP, along with conversion of 60i to 24p look (with 3:2 pulldown added back in for compatibility) and some very nice colouring / tonal effects on your videos, along with fixing chroma subsampling issues. CT is great for speeding up or slowing down your movie 4% to conform from 25p to 24p or 24p to 25p, among other things. Graemeby Graeme Nattress - Café LA
Re: converting 25p to 24p - 15 years ago
Use Cinema Tools to "conform" it to 24p. Graemeby Graeme Nattress - Café LA
Re: Opinions on Converting 30P to 24P ProRes - 15 years ago
As pointed out, the look of film is as much the 180 degree shutter as the 24fps. The 5D2 always tries to aim for a 1/30th shutter, which is 360 degree in film terms - it's fully open all the time letting the most light in. Nothing you can do to change that afterwards. Graemeby Graeme Nattress - Café LA
Re: OT: new HDTV is driving me crazy - 15 years ago
Actually, more likely to make it look like 60fps video... On some TVs it's stuck on, others, you can switch it. I see more as a detriment than a feature....by Graeme Nattress - Café LA
Re: Opinions on Converting 30P to 24P ProRes - 15 years ago
Well, remember some of that extra light - who knows how much really, is because the 5D2 is shooting at a 360 shutter, rather than the 180 degree shutter that the more filmic users will shoot at - there's a whole stop there. There could be more, but without one at hand to analyze, I don't know what they're doing with the tonal curve etc. Yup, pricey I know for a RED, but still, for the qualityby Graeme Nattress - Café LA
Re: Opinions on Converting 30P to 24P ProRes - 15 years ago
I've got an obvious bias here, being that my preferred solution to getting a very nice 24p involves at $17,500 purchase on a primary coloured camera. Putting that to one side, I don't know of a good way to convert 30p to 24p that will make it look good. I'm not saying it can't be done, but that I've not seen it done well. That, and the big issue Jeff points out that the shutter speed is "by Graeme Nattress - Café LA
Re: New Pro Apps update - 15 years ago
Some available light, and a Brute9 LED light for the highlights. Graemeby Graeme Nattress - Café LA
Re: New Pro Apps update - 15 years ago
There's some of my code in there for sure, but it's mostly Rob's and Craig's work. Team effort, shall we say? I did this little movie with the new workflow native into FCP and then through Color: Graeme Michael Horton Wrote: ------------------------------------------------------- > Bet ya Graeme wrote thisby Graeme Nattress - Café LA
Re: New Pro Apps update - 15 years ago
Hope you enjoy the new RED support, especially in Color! Graemeby Graeme Nattress - Café LA
Re: OT: RED Epic and Scarlet - 15 years ago
The new cameras are all about image quality across motion and stills, and very high megapixels per second. The sensor sizes are what they are, to fit different lens sizes. "wasted" pixels can be cropped and not recorded, and used as "look around" while shooting movies. Or anamorphic lenses like different aspect ratio than if you're shooting flat - things like that. Large highby Graeme Nattress - Café LA
Re: OT: RED Epic and Scarlet - 15 years ago
Global shutters on CMOS would mean, among other things, and so I'm told as I'm no sensor guru, lower dynamic range. Graemeby Graeme Nattress - Café LA
Re: OT: RED Epic and Scarlet - 15 years ago
Well, the beauty of the wavelet stuff is extraction of lower resolutions at faster speeds.... Just theorizing, but 28k should be extractable as 14k, 7k, 3.5k, 1.25k and the last two should be, theorectically, reasonably fast. I don't see any reason why 28k should not be semi-practical now, and reasonably practical by release. Graemeby Graeme Nattress - Café LA
Re: Wacom tablet or Kensington trackball - 15 years ago
Love wacom, use it for everything, on every mac I have. Graemeby Graeme Nattress - Café LA
Re: OT: RED Epic and Scarlet - 15 years ago
Oh, it's possible to eliminate it - you just won't like the trade-offs into much lower dynamic range, or moving to a CCD with it's vertical flares on bright objects. Obviously, if the rolling shutter is as fast as film's mirror shutter, it doesn't pose a practical problem. Even on stabilized cameras you can still see skew - just have a static camera and a bus drive past it fast... Graemeby Graeme Nattress - Café LA
Re: OT: RED Epic and Scarlet - 15 years ago
Rolling shutter is causes by how the rows on the CMOS are read out in sequence. Ideally they are read out so fast that you don't see any temporal changes as the readout flows from top to bottom. What you can see if you do get to see the effect, is one of two things: skew which means objects tilt over as you pan, and jellocam, which is where the image wobbles and shakes on up-down movement as tby Graeme Nattress - Café LA
Re: OT: RED Epic and Scarlet - 15 years ago
Outrageous perhaps, but not ridiculous. The imager is a bit bigger than twice the area of IMAX. Is it twice as ridiculous as IMAX? I think photographers who today enjoy large and medium format could produce stunning imagery with such a camera. Downsampled you'll have very low noise, very high resolution and amazing dynamic range. You could get fun with macro and tilt/shift lenses for all kinds ofby Graeme Nattress - Café LA
Re: Make DV look like super 8 - 15 years ago
My Film Effects www.nattress.com has all you need to do that. I had some fun the other day with the plugins: - ok, a bit over the top and a bit compressed for the web, but you get the idea :-) You don't have to add all the film nasties though - fully controllable. Graemeby Graeme Nattress - Café LA
Re: OT: Drobos - 15 years ago
I don't see the Drobo as an archive solution. It's a drive, so the advantage is real time access to your data, which makes it useful for a media server (my intended use) or for live backups. 1TB drives are so cheap these days, I think multiple drive backups are as good as anything for myself at the moment. Graemeby Graeme Nattress - Café LA
Re: OT: Drobos - 15 years ago
Disk Warrior will work on a direct connected Drobo. I don't think I shut mine down right, and it got a bit corrupted, so I took it off the Droboshare, direct connected it, and got DW to fix it. I got all the data back off, now formatting the drobo and copying all the data back onto it. It seems that although the raiding or whatever goes on in the Drobo keeps your data safe, it doesn't help theby Graeme Nattress - Café LA
Re: Question For NATRESS G MAP FRAME users - 15 years ago
Map Frames is not for that kind of conversion. There are two ways to put 24p properly out to 29.97fps - use a card like the Kona that adds pulldown in real time on output over HD-SDI or use G Film Converter to add 3:2 as a render process. Both should produce identical results on tape. Graemeby Graeme Nattress - Café LA
