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William Fischer

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William Fischer last won the day on February 7 2014

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About William Fischer

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    Student
  1. I've encountered a new problem: after using Resolve to render an .h264 of my ProRes file, and it successfully imported into my project. But after I rendered the timeline, no .mov file - ProRes, h264, or otherwise - will transfer over to the timeline, except for the audio. If I attempt to start a new project, I have that problem from the beginning; the only clip that will successfully reach the timeline is the initial clip that I place there. Everything still imports into the project successfully; it just won't transfer to the timeline. As I've said, I tried starting a new project; I've also tried clearing the cache, and working without the converted file. Nothin' doin'.
  2. I have QuickTime Player 7.7.9, which opens the file just fine. I'll give Davinci a try.
  3. Been scouring the Web in vain for an answer to this problem... I'm preparing a new sample reel at the moment, and I'm editing with Premiere CC 2017. Most of the files I'm working with are .h264 codec, but one old project is ProRes 422. Thanks to a hard drive crash, I don't have it available in any other format. When I import this project, only the audio comes over. I've tried all the recommended fixes - clearing cache, installing/updating Quicktime, and have been told by Adobe that this issue was fixed for CC 2017, but still no luck. Any suggestions?
  4. Can't promise anything, but could you give a student bad at math a rough idea on how many feet of film your carts come to?
  5. To clarify - I am one of the students, not an instructor. And I can't speak for any of my peers, but I'm pursuing this more as an interest and passion than a career at the moment, and I like a clean but old-fashioned look. What sort of timeframe I have to cope with, I'll know better when we get further into the school year.
  6. Perhaps this belongs in the Students sub-forum, but... I will be starting graduate school in Galway this fall, and I am hoping that I can get at least one project shot on film. Could anyone tell me what the best options are for processing and transferring film in Ireland?
  7. The film is done and available online, if anyone would care to offer some constructive feedback.
  8. Variety covered the event in essentially the same way: http://variety.com/2014/film/news/scientific-and-technical-academy-awards-oscars-farewell-to-film-1201106325/
  9. This is somewhat off-topic, but - could anyone with the experience/insider knowledge/local oracle offer an opinion on the long-term health of film as a viable option for capture medium in professional productions, or in general? At this point, I've no issue with the quality of digital. My concern is that it will end up as the only thing available. Oil paints and watercolours didn't need to die for Photoshop to thrive, and I just have an easier time with them.
  10. So, I have a 14 1/2 minute short, saved three different ways: ProRes 4444, h264 at 1080 res, and h264 at 480 res. I need to make 20-some DVDs of the film. I have some extra discs to test with, and I've tried burning DVDs using the two h264 files with Adobe Encore, Windows DVD Maker, and DVD Creator. The Encore effort (with the 1080) had a choppy, blurred playback; the WDM efforts (with the 480 converted to .wmv) had smooth playback but badly pixelated image with interlaced lines, and the DVD Creator efforts (the 1080 and 480, set to "High Quality" under Options) had the best overall quality - no lines, smooth playback - but comparing the image quality I get from them on an HDTV to the quality of the source files on my laptop, they're still coming up short. I no longer have access to Encore, and DVD Maker's my only option if I want to avoid spending money on new software. Any suggestions?
  11. Does anyone have any notes to give? Anything about colour especially would be welcome, as the next job with the footage (once our editor does her job) is colour correction. We went with Ektachrome I00D specifically because of its saturation level, in an effort to replicate a Technicolour look without having to meddle too much in post. Our school has Apple's Colour and Adobe After Effects to use, and I can't say that I've really enjoyed the results that our colour timer has achieved with those programs when working with images originated on film.
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