![]() The Filmic Pro/C2C workflow can prove worthwhile when fast turnaround and remote access become factors in your production. Professional filming with iPhones has become common in many market sectors for both primary and secondary videography. Frame’s C2C feature requires Filmic’s Cinematographer Kit (an in-app purchase), and a Frame.io Pro or Adobe Creative Cloud account. The update already popped up in your Filmic Pro settings if you’ve kept the app current. However, one of the newsworthy integrations announced last week was the addition C2C capabilities for iPhone and Android users with the Filmic Pro camera application. It’s not news that Frame.io has been pioneering camera-to-cloud (C2C) workflows. This process worked better than expected and quickly became second nature.Īt the risk of moving into the “kids, get off my lawn” territory, young editors clearly don’t know the fun they are missing with today’s modern nonlinear edit systems! During a matched-frame edit, if the condition was wrong, hit the switch and hope that the deck would lock up correctly before the end of the preroll. The editor would monitor the LED status and could control the preroll length, which was generally five seconds for the TR-600s. Quad VTRs would lock up in anywhere from under one up to ten seconds or longer. If so, you’d achieve a successful matched-flame edit without any H-shift. If the LED was on when recording the first part of the clip, then on the second edit the VTR would need to lock with the LED on, as well. This would cause the VTR to unlock and quickly relock its playback. The editor could trigger it to “bump” the capstan control. His next step was to add a remote switch for each player VTR next to the edit console. This indicator could be monitored through the glass that separated the edit suite from the VTRs. This was visible to the editor when the VTR panels were open. His first step was to add an LED onto the front of one of the circuit boards as an indicator. The facility hired a sharp young chief engineer who took it upon himself to create a viable workaround, since RCA was never going to fix it. ![]() If you got an H-shift at the edit, you simply repeated the edit (sometimes several times) until it was right. Some of the Ampex decks featured a bit more control, but the RCA TR-600 models that we were using tended to be sloppier. It’s a 50/50 probability of where the deck locks up. If not, then there will be a slight, but noticeable, horizontal shift at the edit point. If you record clip 1 and the VTR locks in one horizontal position, then when you make the matched-frame edit onto the end of clip 1, the VTR has to lock up again in that same position. This slightly affects the horizontal position of the picture. When you play back a recording and the VTR first achieves servo-lock, it can lock up usually in one of two phase conditions as it syncs with the house sync generator. This cadence is known as the color frame sequence. NTSC follows a cadence of 4 fields (2 interlaced frames) in which the phase of the signal repeats every other frame. This involves a colorburst signal and a sync pulse. In simple terms, NTSC and PAL are systems where the color signal rides on top of the black-and-white signal. To be completely seamless, the matched-frame edits had to be perfect. If it was a series of dissolves, then this required matched-frame edits in order to dissolve from the end of clip 2 to clip 3, then the same from clip 3 to clip 4, and so on. You could roll A and B together and make a dissolve in a single pass, laying down clip 1 and clip 2 with the dissolve in-between. Once copied, you now had the A-Roll (camera original) and a B-Roll Dub to work from. ![]() If there was only one camera reel, then before starting the session, the editor would often make a complete copy (dub) of that camera reel. You needed both players to make a dissolve. Two VTRs were for playback and the third was what you edited onto. In the 70s and 80s, the minimum configuration of an online edit bay involved three VTRs, a switcher, audio mixer, and the edit controller. Not that it can’t be a problem, but it’s just one more indication of how far the industry has come. I started out editing in an era of wrestling edits out of quad VTRs, so I tend to have less concern when there’s an issue with some plug-in.
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