Tagged: troubleshooting RSS

  • David Cavallo 12:12 pm on August 29, 2011 Permalink | Reply
    Tags: , , , , , troubleshooting, ,   

    Your Complete Guide to Endless Picnic’s upcoming 5D Seminar 

    Endless Picnic’s 5D Seminar from Endless Picnic on Vimeo.

    What’s it all about?

    It’s a comprehensive half day seminar–we like to call it a master class, really–on shooting HD video with the Canon 5DMKII. It’s geared towards intermediate and advanced shooters, as well as producers and directors, who want to learn how to get the most out of the camera in a professional production and post-production environment, and avoid common mistakes and pitfalls.

    When and where is it?

    Saturday, October 8th, from 1PM-6PM, at Endless Picnic’s great new space in midtown Manhattan. There will be a one hour break for lunch.

    How much does it cost?

    The price is $250. Participants will also receive a lifetime 15% discount on rentals and post production services at Endless Picnic.

    Who is conducting the seminar? (More …)

     

  • David Cavallo 5:27 pm on July 7, 2011 Permalink | Reply
    Tags: , , , , troubleshooting, ,   

    A 5D Seminar? At Endless Picnic? You betcha! 

    Mark your calendars, folks–we’re planning a really cool 5D video seminar at Endless Picnic. It’ll cover everything from prep to post (and sound too!) It’s an even more complete version of the HDSLR master class we did at Brooklyn College earlier this year. The date? Saturday, October 8th.

    This comprehensive, hands-on half-day course is $250, and will take place at our great new space in midtown Manhattan.

    Give us a call, or shoot us an e-mail to reserve your spot now or get more info. Space will be limited–which means you’ll get plenty of attention–so get goin’!

    info@endlesspicnic.com
    (212)706-4037

    Hope to see you there!

     

  • Alex Ricciardi 10:48 am on April 14, 2011 Permalink | Reply
    Tags: , , , , , troubleshooting, ,   

    Managing 5D Media in Final Cut Pro 7 

    When you’re running a 5D rental house, you get asked a lot of questions. Most of these have to do with the gear itself, but the most important question may be “What do I do with the footage after I’ve shot it?” After all, if you can’t import and edit your footage properly, then that sweet 5D is just an expensive, awesome paperweight. (Seriously, it’s really good at keeping your papers from flying away.)

    I can’t tell you how many times I’ve received a Final Cut Pro timeline from someone who shot their project on the 5D and seen this:

    RENDER BARS! Sure, it’s tempting to stick your Compact Flash card in a reader and just start dragging clips to your hard drive, but as many of you know, currently Final Cut cannot natively edit the files 5D generates. What’s more, a haphazard approach to copying files is a good recipe for lost media and, worse yet, general chaos once you’ve reached the edit stage.

    So what’s the solution? (More …)

     

    • Wendy 10:53 am on April 15, 2011 Permalink

      This is the best tutorial I have seen on importing 5D material into FCP. Well done.

    • Jalanda James 1:24 pm on February 2, 2012 Permalink

      Wow! Intense.  Good stuff but a little too complex for me. But you are the real deal;)

      Here’s what I found helpful in my many hours of research.

      Editing Drive
      Raid 0 

      Backup Drive
      Raid 1

      Implementation:
      1. Convert media. I use Mpeg Streamclip. Save these converted files to your Raid 0 drive. 

      2. Save the originals to your Raid 1 drive.

      3. Edit using your Raid 0 drive and editing program of choice. When finished editing send a copy of the project folder to your Raid 1 drive for storing.

      Raid Basics
      Raid can either be configured to share processing power or provide double backup. 

      Raid 0 
      Good for editing because the processing is split between 2 drives. 
      Example
      Working Data ABCDEF
      Drive One Processes  = A,C,E
      Drive Two Processes = B,D,F

      Raid 1
      Mirrors the data from one drive to the next. So you save it once and it’s copied to both drives. 

      Example
      Working Data ABCDEF
      Drive One = ABCDEF
      Drive Two = ABCDEF

      I like Raids as opposed to multiple drives around. I like Glyph Technologies so far because they are made for MAC and are supposedly made for editing. They have great reviews. 

      Good luck. Hope this helps made the editing workflow easier to understand.

  • David Cavallo 3:00 pm on February 24, 2011 Permalink | Reply
    Tags: false color, , , troubleshooting   

    Marshall False Color IRE issue 

    As those of you who follow our Endless Picnic blog probably know, we’re big fans of Marshall monitors. We love both the 7″ LCD70XP-HDMI and the 5″ V-LCD50-HDMI, which shine for all sorts of reasons, especially with our Canon 5DMKIIs.

    One of the most of useful features of both models is the False Color mode, which we’ve seen become popular throughout the industry as a quick and useful exposure guide for HD cinematography, both on our Marshalls and on RED One’s monitor.

    But recently when reviewing some 5D footage, our colorist/editor Alex Ricciardi mentioned that he’d noticed some discrepancies when comparing the Marshall False Color scale and Apple Color’s Waveform monitor: it appeared that the False Color IRE scale was reading about 10 IRE too high when compared to the software scopes. Knowing how much I rely on the False Color scale for proper exposure, I decided to investigate.

    I began by doing some casual tests around our office (More …)

     

  • Tyler Cartner 4:16 pm on August 25, 2010 Permalink | Reply
    Tags: , , troubleshooting,   

    5D audio FCP sync issue 

    Hello world!

    Since the introduction of the 5D, both the low budget production and post production worlds are rapidly adjusting to it. One of these adjustments is sync audio. Recently we encountered an issue when importing non-timecode 48/16 wave audio files into FCP; the audio drifted over time. Since the footage was shot on the 5D in 24P, we could drop it into a 23.976 NDF sequence in FCP–nice. But the audio wasn’t so happy coming in. Why can’t we simply bring in the audio and have it be the correct length for our footage?

    The answer has to do with audio wave file metadata and how FCP deals with non-timecode audio, which is devoid of frame rate information. After much trial and error, we landed on a simple solution; alter the frame rate metadata in your sound files to include frame rate. “How the hell do I do that?” you say? It’s easier than you might think. (More …)

     

    • Adam 1:38 pm on March 16, 2011 Permalink

      This post saved me so many hours. Thank you so much!

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