I’ve delivered tapes to many broadcasters and producers including NBC, National Geographic, Red Bull, etc. Their requirements are pretty similar, so it’s fairly easy to just use a generic template for all your tape prints. This is one I’ve been using for awhile. I will eventually add more templates for different uses, but this is [...]
Read More apple, beta, beta sp, broadcast, D5, Final Cut Pro, HDCAM, HDCAM SR, print, slate, tape, title
This post is not technical. This is very simple. What really is the difference in quality between all the different flavors of ProRes? Currently there’s Proxy, LT, SQ, HQ and 4444. Proxy, LT, SQ and HQ are all 4:2:2 at 10bit, but at very different bitrates. I saw a comment by Shane Ross on his blog [...]
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I really wanted a new MacBook Pro. Mine was just getting old and sluggish. At 3.5 years old, I guess it’s time, but it’s in near perfect condition. I think the old Aluminum MBPs look better than the new Unibody ones with black keyboards anyway. I love the Expresscard slot, so if I bought a [...]
Read MoreI just finished a commercial project that had a lot of high res still images. Anyone who’s used FCP for even a short period of time knows how terrible it is with images and .psd files. We started getting Out of Memory errors and due to the extremely long hours and tight turnaround, the editors [...]
Read MoreIn an earlier tutorial, I addressed removing pulldown from 3:2 and 2:3:3:2 (24pA) sources. You can find this information all over the web pretty easily. But recently I found that I needed to ADD pulldown to a 23.98 edit to deliver it in NTSC SD. Many modern video cards like the AJA Kona 3 can [...]
Read More 29.97, 3:2, Creative Cow, DG Fastchannel, HDCAM, Pulldown, TwixtorThe following tutorial requires Adobe After Effects. I’m not sure what versions this works on, but I’m using CS3 (8.0.2). A trial download of After Effects CS4 can be found here. I’m currently testing this conversion in Compressor and will post that tutorial later. At TGR, slow motion is a huge part of the process. [...]
Read MoreI’m currently working on the post workflow for a year-long documentary about following wolf packs. The scientists are shooting on the RED One and various small cameras including the Canon HV20. The decision was made right away to do everything at 24p (actually 23.976p), which means every camera needs to be in this mode, and [...]
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