There is an issue with footage that needed the YUV headroom to be turned on when importing.What happens is that when this footage is exported, it get crushed blacks. So there need to be a YUV headroom setting for the export I believe. Maybe I am seeing it wrong.
Footage is MXF Panasonic HPX171 (DVCPRO HD 72025PN) footage.
Can I request that we set YUV + Headroom as a default.Should this be set at time of creating the project?
View 6 Replies View RelatedAm I right in assuming that YUV Headroom should only be enabled when importing YUV 422 10bit files?
How does Smoke deal with RGB import of 4444 files? I am hoping it is similar to Resolve & imports the full range?
I tested this by importing with & without headroom & exporting dpx of both. I then compared these to the full range imports in Resolve & the dpx derived from not enabling headroom was the match.
I ask this as I want to ensure my comps go to Grade ok, and the colourist is happy! Last time I did this we were working with 422 10bit files & I had to enable headroom in Smoke in order to match Resolves 'full range' import.
Any way you can take 5D footage and convert it from Lin to LOG?
View 1 Replies View RelatedI'm using Pre Release 5 for editorial as opposed to conform and I've moved some of my source material to a different drive than I was using when I started the project.
Normally in FCP or Avid, I would just re-link to the footage and that would be that. I know this could be done with footage in the timeline, but what about plain old source footage? I can't seem to find the re-link tool.
As soon as i try to open the default canon folder containing 5d footage, software crashes (spinning wheel, then app exited abnormally message).
I try re-starting wiretap gateway, wiretap server, and stone+wire thru Service Monitor then restarting smoke but that sometimes solves the issue and sometimes it doesnt. And sometimes i see checkerboards.
I tried solving the problem by running smoke with airport on or off but with similar results.I did some search here and gathered that it could be due to a number of reasons (IP address, local host etc) but I dont quite fully understand everything.
I don't have my mac pro networked via any Ethernet cable or anything and don't want to have to keep airport on unless i need to be online.
I've got RED footage that imports codec 3.x, RedColor3 and RedGamma3. I'm delivering rec709 but would like to work linearized. Do I just change the color settings to rec709 in the color box and linear in the curve option to work correctly?
View 2 Replies View RelatedI'm looking for the workflow for Red Footage.
In our facility, we are shooting 4k HD format. Then we can finish our final project as HD.
I installed Red Rocket and the Red Footage as Half premium debayer (1920x1080) playback in realtime at preview window of the "Media" tab.
However, I insert the same clip on the timeline (1920x1080, same as Half premium debayer), smoke automatically puts resizing effect. When I open the effect, I notice this effect doesn't do anything.
What would be a bonus is at anytime I could go to the timeline and click on an imported piece of footage and tell smoke to Include YUV headroom after the fact of it being imported and used.
View 7 Replies View RelatedI did a bunch of test fixes on a low resolution version of a project. All using batch.
Now I have the full resolution versions of the clips.
I thought I could drop the Batch set-up onto the new clips and then do an Apply & Scale to the Action nodes inside Batch. But that doesn't seem to work. At least from what I can see, all my gmasks are in the place they'd be if the footage were still smaller?
I have footage that contains GS footage. I also have a graphic I want to put behind the two. I can achieve this with a vertical comp in my time line and the timeline axis effect. But when I try to connect the two with CFX I get an error and my footage looks wonky.
View 2 Replies View RelatedI have a question about conforming material from Abode Premiere CS 5.5..I have a 720@50p source that was converted to Avid DNxHD 10bit 720@50p in Quicktime .mov container, using Media Encoder.Then material was edited in Premiere, cuts, dissolves and etc. Timeline in Premiere is set to 720@25p, because I need to output 720@25p finals.Premiere DOES NOT slowdown shots in timeline, it just plays them skipping every 2nd frame (I thinks so), so it is played in a normal speed and audio is in sync also. In Interpret footage settings nothin is changed - so, it still treats as 50p footage.
Problem is that I dont understand how to conform this footage correctly in Smoke.If I use automatic conform using wiretap import of AAF (same dir as footage is), Smoke thinking about this operation about 10-15 mins and then it creates a 1080@50p timeline where all shots are smaller it's native size and timing is completly wrong. They starts early than they should.If I use Video I/O I have correct sizing but timing issue is still present.
I need to create a project with PAL settings and override resolution to 720p?
How make Smoke to play footage same as Premiere does? Whithout shifting in out points?
I was wanting to try out the clone tool to paint out a fly in some footage I have, but I can't get the clone tool to grab a sample region. I hold down ctrl and click where I want to sample from, but the green circle doesn't appear. I can do it by manually offsetting it with the x and Y position, but I'd like to do it with my pen.
View 3 Replies View RelatedThe client asked me to give them a version of the Final sequence in which the colour of a looping background was slightly different so that they could compare the two. They also asked for two different pieces of music so they could test which one worked better. Before they picked the final version they wanted everything slightly shorter. The duplicates keep piling up.
Is there a way to swap put a shot in a master sequence and have it update in all the other duplicates I have made? How does one keep track of all the sequences in Smoke with all these little changes.
PS. With the audio I put the two music tracks in the sequence and muted one or the other. Dealing with different lengths of a commercial needs me to duplicate and then things start piling up.
Somehow on it's incarnation to Smoke 2013 a core functionality of editing is lost.
I cannot drag'n drop any footage from the viewer into the TL by F-drag or Pen-tip anymore. This has been working in previous versions of Smoke and makes an NLE an intuitive experience, especially if you are coming from a FCP/PremierPro background. I'm sure this is a typical alpha build loss.
what is the workflow for making footage broadcast legal in smoke.
I have read different explanations on the web, but still not totally clear on it.
how Brian Milligan creates broadcast safe.
DSLR footage I need a sharpen node. Is there a way to sharpen in Smoke?
View 2 Replies View RelatedIs there any keyboard shortcut in Smoke to shuttle quickly across footage (with sound playing) at 2x or 3x speed like you can in Avid/FCP/Premiere etc by double/triple-tapping the J and L keys?
This makes scanning through clips and the timeline so much faster and I consider it a basic essential.
I have just installed Smoke Ext 1 and tried Keying with Green Screen Footage. The Master Keyer result is not even close. Is it a bug with the Master Keyer?
View 1 Replies View RelatedI have try everything I can think of but Smoke 2013 won't export any clip and when i was able to export 1 it wouldn't play. Iwas able to export on Smoke 2012 demo with no problems.
View 3 Replies View RelatedI'm having issues exporting still frames from Smoke. How do you specify the frame to export as a Single Frame? I can see anywhere where you tell Smoke what frame should be the Single Frame to export from a timeline.
I need to export a series of frames, about 200 in total but they are at random places in a 1 hour 30 min timeline so I need a fast and easy way to get this done.
I have a sequence that I only want to export a segment of, from my marked in-point to out-point.
Where is the option like in FCP & Avid, to just export that segment? I would really like to have to not create a subclip each time I just want to export a segment.
I'm conforming a sequence - importing RED files - then exporting that sequence for color. When importing the RED files, what color setting should I use? Camera, user etc? If user then what other options should I use knowing that I'll export a dpx sequence for color?
View 4 Replies View RelatedIs there a way to export the in & out from the Timeline?
It isn't done until it is finished.
I'm trying to export quick times from smoke 2013 but it's failing the whole time. The engineer installed sp2 but I realized that the system has still installed the sp1, has it something to do?, I have to uninstall sp1 and then install sp2?, I mean, have I to install the smoke again? In the company where I'm working with there are two smoke systems and I'm opening the backburner monitor and appears the two systems, is it good?, The error that that the system has is:
SMOKE-01.local [error] 2891913768 transcoderMediaProvider.C:312 02/25/14:18:36:16.886 Cannot get type of clip IFFFS-158:/stonefs/TC_-_BOXING/workspace/Media Library/_Export_140225_161339_1/H_16777343_S_1393362820_U_578586/hires: Library _Export_140225_16
I have an edit and now I want to export as DPX sequence. A couple of questions:
First, is there an easy way to take a single edit and export it with handles? I realize that I can make a subclip but is there an easier/better way to do this?
I can't find an automated way to set handles on export. I have about 175 shots that I need to export .
PR5. Up until this release, I haven't had a problem exporting quicktime movies. I have a 2:30 long video that I'm trying to export with no success, at best I'll get 30 seconds of my project. I'm not as familiar with Smoke setups and preferences
View 9 Replies View RelatedFor example as a txt file or something like that? (out of action)
Smoke 2012 SAP2 SP4
and
Smoke 2013 SP2 (Smoke Classic Keyboard Shortcuts)
Mac Pro 4,1
OS X 10.6.7
12 GB RAM
NVIDIA Quadro 4000
14 TB RAID (Areca)
I have finished a project for broadcasting. Now it is going to be used for cinema use as well.
How should i go about it? Export a normal ProRes4444 and that is it? Or how could i (and should i) flip it into XYZ colourspace before exporting?
I want to deliver the material that gives the least risk of error during the image conversion.
Turned off tracks will NOT be ignored when exporting. This is a trap!
View 1 Replies View RelatedWhen exporting a sequence I'm having problems with my audio being distorted, like it was peaking. Audio in the timeline sounds good, I did have some gain adjustments on some clips which I removed to see if that was the issue and the same problem is happening. No other effects other than some reverb are present.
Faders were normalised and audio peaked at -1dB only for a few seconds, the normal audio levels are about what is shown in the screenshot, around -6 to -5 dB.
This was exporting via the iPod preset with not further adjustments.
MacBook Pro Retina 15" - OS X 10.8.4 - 4TB G-tech G-Raid - Smoke 2013
MacPro 5,1 - OSX 10.8.5 - 64GB Ram - 12TB Pegasus RAID - 24 inch HP DreamColor - Smoke 2013 - Maya 2013