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We could really use the XDCAM 35MBIT import but it is too risky to upgrade with 7 episodes in some state of capture/edit/lock.
I'll be waiting... please everyone else, be a sport and bug test for us would you... thanks
ak
by Andrew Kines
- Café LA
PmacG4, OSX, Dual-1.25Gb RAM This doesn't tell us how much RAM you have just how fast your G4 chips are. We need to know your RAM/memory quantity.
You probably have a few issues dogging you right now.
It sounds like you have an overfull media drive. If you have anything that isn't media on this drive (FCP projects, Photoshop, Aftereffects, Autosave vault) move them off. If that isn't much
by Andrew Kines
- Café LA
What was it shot on?
What is your master format? HDCAM? D5?
You are more or less on the right track. Quality, effects, and money issues notwithstanding, HD material can be printed to film and having a master at 23.976fps is the easiest starting point other than having 24fps. There is a process for speeding up the sound the required .1% that can vary in quality depending how much $$ you throw
by Andrew Kines
- Café LA
has a blog entry about the developments in Flash and what some people are doing to try and improve picture quality. The comments of that post link to some other experiments.
ak
by Andrew Kines
- Café LA
Not dropped frames, broken timecode. As in noncontinuous or non-incrementing timecode.
If that's what you meant by checking the tape and you found completely continuous timecode around the spot where the hiccup is happening then you might have a bigger problem. But the behaviour you describe is the exact behaviour of FCP should you have it set to make a new clip on timecode break.
If it's
by Andrew Kines
- Café LA
We had a long time AVID editor working on an episode and that project get to about 285MB before it began to be really problematic. It was slow to load and everything before that but at that size it became unstable and it took me 3 or 4 hours of opening and crashing and BBOD watching before I was able to get the project down to two or three smaller projects.
I keep all my sequence projects und
by Andrew Kines
- Café LA
QuotetcWith the Squared5 driver you refer to (and a faster Mac), I've been able to use the stock Apple mjpegA, and also stock DV codecs. I'd stay away from Sorensen and .mp4, even though you might get them to show some video.
So the stock apple mjpegA and DV can play realtime through that card without a re-encode on his end? That would be better for quality in mix playback.
The OS X control
by Andrew Kines
- Café LA
Does anyone out there have any experience with sending QTs to a protools suite using the DC30 card. Our mixer uses one and pointed us to the the third party driver made by the same folks that make the great MPEG Streamclip. It gives us a bunch of codec options but none of them seem to play back realtime on his system.
I've sent an email to the author but haven't heard back. We're working on tig
by Andrew Kines
- Café LA
I don't know how the new technology is responsible for income inequity amongst talent. I think actors in the old studio system got way less than the stars. Sure the scale has changed but so has the price of a cup of coffee. Whether that anecdote is based on real experience or not it is no where near the total picture and therefore a little misleading.
I don't even know where to start on that
by Andrew Kines
- Café LA
Yep.
iMac firewired to camera, camera S-video/RCA to NTSC monitor.
Under menu item Final Cut Pro go to Audio/Video Settings and AV devices. Select Apple Firewire NTSC for Video and Firewire DV for Audio.
That's yer set up.
The caveats still remaining are that your monitor, if it's just a plain TV will be hard to calibrate so you might find that stuff that looked OK on your TV looks quite
by Andrew Kines
- Café LA
Frank,
I think I need to know more about what your set up is because we're getting into the "anything is possible" realm of FCP. That, and I don't know how experienced you are with video, editing and FCP.
You can bring anything into FCP at almost any resolution. Your limitations for bringing it in are the hardware to capture it (DV=Firewire device or camera, HD=Kona3/Blackmagic etc) a
by Andrew Kines
- Café LA
To sum up and hopefully clarify.
For an extra monitor to give you more space to look at your bins and timeline and keep your myspace page open while you edit, you would use the DVI port to hook up another computer monitor. I suggest this one because I know you have loads of moolah...
To view your edits playing back on an NTSC or PAL monitor you would need one of the aforementioned boxes tha
by Andrew Kines
- Café LA
The DAC-200 and the Canopus ADVC110 will display your timeline on an NTSC monitor but they rely on the sequence being DV resolution.
To display any resolution sequence on an NTSC monitor you will need a capture/output card that can handle all the resolutions like the Kona 3 or Blackmagic cards.
ak
by Andrew Kines
- Café LA
I don't think he is.
My Sony VHS machine recognizes these ID signals and puts a text overlay with the channel name and sometimes the show name. It's infrequent so I don't think it's a technology that is widely implemented and I've never read about it or heard what it is called. It would appear to be some variation on close captioning and probably uses the same technology like the vertical interv
by Andrew Kines
- Café LA
Do you have "open" selected from the sync play pulldown above the picture on the canvas? It's the middle button between the percentage view and overlay selection.
That takes care of having the viewer play the multi in sync with your timeline.
To select angles while playing you need to use either the keyboard/button layout with "cut to angle X" buttons mapped to your keyboard
by Andrew Kines
- Café LA
QuotealquimistaAny ideas as to how much I should charge/quote?
Is it your FCP gear? Is it your camera? Will you buy the blank discs?
If you already have a rate for editing that you are comfortable with, base it on that. If the work of getting all this material to disk can't be automated to the point where you are able to do other work then you should charge your regular rate. If half the ti
by Andrew Kines
- Café LA
I don't know much about DVD recorders but I am guessing that your control over what format they record in and how useful it would be to you after would be limited.
It would probably mux the audio into a mpeg2 file or something stupid that you would have to extract to get at later.
I am willing to be proven wrong by the existence of a DVD recorder that can record PCM files to DVD and play them
by Andrew Kines
- Café LA
Far be it from me to question a star wars fan's use of movie quotes, I merely meant to call attention to the different format of the posting, the one that was emailed to me and the one that I could read on the tubeweb.
ak
by Andrew Kines
- Café LA
Interesting... the email version of grafixjoe's post was 9 dots with no sig, but the web one was only 1 dot with the sig.
ak
by Andrew Kines
- Café LA
If no one is planning on doing anything other than listening to the audio files after they are on DVDs, I'd go with high bitrate mp3 for universality or aac for file size/quality.
If there is ANYONE in the organization that has plans, even as yet unspoken, to process, clean up, re-use or do anything else with the files I would bite the bullet and record the files to 44.1Khz/16bit AIFFs or if it'
by Andrew Kines
- Café LA
Normally that's true but I believe that for the crossgrade to 5.1.1 Apple allowed Academic versions of 4.5 to be upgraded. This is copied from the extremely small type at the bottom of the upgrade form:
QuoteYou must have purchased Final Cut Pro 4 Retail (M9038Z/A), Final Cut Pro 4 Upgrade from Final Cut Pro (M9039Z/A), Final Cut Pro 4 Upgrade from Final Cut Express (M9116Z/A), Final Cut Pro 4
by Andrew Kines
- Café LA
What is the file size of your problem file?
We ran into a ceiling of about 300MB per project where problems like this cropped up.
Right now we're working with keeping everything under 110MB.
If your project is huge like this you'll have to get the other system that is able to open it to save copies of the project divided up by Sequences and Sources, or by Acts or by Episode or whatever it take
by Andrew Kines
- Café LA
Everyone here should try looking up the Mistika and try and find some kind of info about it. Try to imagine using FCP with NOTHING out there to help except a hard to track down company site, a bunch of mentions in people's CV's and one guy making basic utilities for it's predecessor, Jaleo.
I use EDLs and MIDI as good examples of really simple solutions to complex problems that have outlasted
by Andrew Kines
- Café LA
THIS IS STRICTLY AN FYI. There is no problem that I am aware of here. Feel free to alert me to one if you suspect so.
I just figured this out and thought it might be of interest to someone.
We're cutting XDCAM HD in 23.976 offline sequences for online in a Mistika. Link to Mistika
I had tested everything that I could during a very quick and harried post planning session when I took this gig
by Andrew Kines
- Café LA
It's not proprietary in the sense that no one else can use it. You can download it and encode stuff into Meridian that would be a "fast import" into an AVID system. AfterEffects people do this all the time, works great in an AVID/AE environment.
AVID works on a model where everything you want to use in a timeline has to be turned into meridian media. It's a more rigid media management
by Andrew Kines
- Café LA
If you are going to do this alot you might want to look into Traffic. It can automate outputs and a bunch of other cool stuff that might be right up your alley.
Check out the three demos.
ak
by Andrew Kines
- Café LA
AVID would have to do a recompress to it's own proprietary codec (Meridian maybe). So there would be no drag and drop for the editor unless you were able to get it into the AVID codec. You'll need to find out what kind of AVID they're using before you go down that road. Version number and hardware (Meridian or Adrenaline/Nitris). It might be Adrenaline or Nitris if they're finishing it in the AVI
by Andrew Kines
- Café LA
The codec suggestion is for you to render out the footage as meridian files that they can import into the AVID. Probably a massive render but....
If they must have the footage on HDCAM because they have an HDCAM deck hooked up to their AVID then your options are straight forward- Dub DVCPRO HD to HDCAM. If you shot to tape then you need a deck,. If you shot to Firestore or something like that
by Andrew Kines
- Café LA
Sorry I believe I was too brief.
In the dialogue after you select remove attributes leave distort checked and everything else unchecked. Hit OK. That will remove the unneeded distort setting from all your clips.
This is the fast way of loading each clip from the timeline into the viewer and reseting the distort setting in the Motion tab. Which would take forever if you had to do it one at a t
by Andrew Kines
- Café LA
don't forget using the FIND feature from within the browser window. Select All open Projects and Find All. You can attach the result window to your browser like any other tab and, if your metadata is comprehensive finding clips is somewhat easier than poking around.
ak
by Andrew Kines
- Café LA
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