RE: 3:2

["Tony Cacciarelli" <tonycac(at)2gdigital.com>]

actually, I realize that I forgot to mention one important point.

 

you CAN get your clip back exactly as it was.

if you follow the process I outlined, the missing step is that once you’ve contracted and re-expanded you can then trim the head and tail of the container back to its original position and THEN drop it back onto its original track.

this will make it exactly the same as it was before the contract/expand.

then you can step into  the container and do your GFX or whatever on the non-3:2 material.

 

so, you don’t have to change where your edits happen, you just have to move them temporarily to do the contract/expand and then re-trim them back to normal.

sorry I didn’t point that out earlier.

hope that’s better ;-)

 

tony cacciarelli

 

 

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From: owner-ds(at)Softimage.COM [mailto:owner-ds(at)Softimage.COM] On Behalf Of Chris Smith
Sent: Thursday, January 05, 2006 1:31 PM
To: DS(at)Softimage.COM
Subject: Re: 3:2

 

Gentlemen, fantastic advice.  Thank you very much.  

 

Great Idea, Tony.  So, in effect one way or another I won't necessarily ever be able to have my clips EXACTLY where they were before.  I can either expand the tail a frame or two to fill it out, or modify the cut so that each clip starts on an A frame?

 

Man, it's starting to make me think it's worth paying the extra 25% or so in film stock to shoot 30fps :)

 

Helped tons, thanks.

 

Chris Smith

Partner/Film Director

Sugar Film Production

3699 McKinney #222

Dallas 75204

214.655.2662

http://www.sugarfilmproduction.com

 

On Jan 5, 2006, at 2:41 PM, Tony Cacciarelli wrote:

I agree. I only use contract/expand on shots that are affected.

 

however, if you have to deliver a continuous 3:2 master, you would have to deal with each shot separately.

this can get pretty ugly on long sequences.

 

tony cacciarelli

<image001.jpg>

 

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From: owner-ds(at)Softimage.COM [mailto:owner-ds(at)Softimage.COM] On Behalf Of Gregory, Ryan
Sent: Thursday, January 05, 2006 11:48 AM
To: ds(at)softimage.com
Subject: Re: 3:2

 

I only do it for the shots that need effects. I don’t know if this is the “proper” way, but it always looks fine and never had any problems.
Ryan


On 1/5/06 2:39 PM, "Chris Smith" <chris(at)sugarfilmproduction.com> wrote:

Thanks Guys,

I see the two grey markers you speak of.  Your recommendation (for archiving) is to trim the clips (inside the container) around these in and out points?

Other overall question.  Is it common to only bother with all of this when you need to do effects? or is it done to every single clip in an edit so that the 3:2 sequence is in phase between all the clips?

 

Chris Smith


Partner/Film Director


Sugar Film Production


3699 McKinney #222


Dallas 75204


214.655.2662


http://www.sugarfilmproduction.com
 

On Jan 5, 2006, at 12:50 PM, Paul Neal wrote:

On 1/5/06, Chris Smith <chris(at)sugarfilmproduction.com> wrote:

 
 
If I step in to the container.  I'm at the true 24 (no half frames) footage.  This is good for me.  Except I'm having to hunt down the tiny area I was needing to work on.  Inside the container is the entire master clip.

 
 
 
 
Hey Chris, I'm not an expert on this by ANY means, but what you describe above is normal for DS. When you make a container, inside the container will be the ENTIRE original clip (like you just drag it from the bin into your timeline right after capture).  What you SHOULD see up in the timecode portion of the timeline are two little grey markers indicating where your IN and OUT were before the container was made. Make sense.
 
 
 
One thing to look out for...when you do these types of "timewarp" effects (even freeze frames) and you go to archive, you best go into EVERY container and cut out all extra footage from the clip that is NOT used, or it will go down on your archive tape.
 
 
 
I feel like I am maken NO SENSE today...and MARC, YES I make sense occassionally!
 
 
 
;)
 
Paul

 

 

 

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