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Believe it or not, you're better off with your old CRT than you are with a new LCD TV.
Standard-definition material is interlaced. CRTs are also interlaced. LCDs aren't. Looking at a standard-definition show on an LCD shows you something that isn't faithful to the actual picture. For example, you can't spot field-dominance problems on an LCD.
My room is equipped thusly:
Mac Pro with 2x23
by Jeff Harrell
- Café LA
I haven't done a Red show, but I've studied the workflow in anticipation of my first one. I think the more-or-less-accepted state of the art is:
1. Either take the camera Quicktimes or, if you want to change the color space or apply a basic look, create new ones in Red Alert.
2. Batch them through Compressor to create ProRes proxies.
3. Cut the proxies into a ProRes timeline.
4. Expor
by Jeff Harrell
- Café LA
I'm confused. Isn't XDCAM a tapeless format? SxS cards or random-access optical discs? If we were talking about tape, I could understand, because we'd be talking about wasting time cueing and unnecessary wear-and-tear on the mechanism. But if it's random-access, what does it matter what order the clips come in?
by Jeff Harrell
- Café LA
I can't say definitively that it captures my clips in timecode order, because most of the time when I'm batching I put in a tape and go get a cup of coffee or flirt with the cute assistant or something. But last week I batched just two clips from a timeline, from the same reel, and it captured them in timecode order. Might have been just a coincidence.
What order does your system capture clips
by Jeff Harrell
- Café LA
Ben's way of doing it might be quicker and easier ? but MY way lets you put "sound designer" on your reel!
by Jeff Harrell
- Café LA
Them's fightin' words.
Signed,
a Mighty Mouse loyalist
by Jeff Harrell
- Café LA
The recessed 1/8" jack on the iPhone has gone the way of the dodo. Currently shipping iPhones have flush jacks.
The original jack was recessed as a form of strain relief. If the phone has a flush jack and you've got it in the pocket of a pair of jeans with the headphones in, when you sit down stress on the plug in the jack can cause wear and tear on your headphones, and eventually failure
by Jeff Harrell
- Café LA
I'm away from my system right now, so I don't remember every last detail. But there's a pop-up on the master mix track in the timeline that lets you choose mono, 2-channel stereo, 6-channel or whatever.
by Jeff Harrell
- Café LA
Create a new Soundtrack Pro project, drop the CAF onto track one. Set your master mix to two channels for a stereo mixdown, and export the file format of your choice.
Or just use the six-channel CAF in Final Cut, but set your timeline to do a stereo mixdown.
Or bring in the CAF, then delete everything but the left and right channels if you want to simply omit the center, surround and LFE ch
by Jeff Harrell
- Café LA
It's technically possible, but there's not really such a thing as a 4:3 HD format. A 4:3 extraction of a 720p frame would be 960x720. You can create a 960x720 timeline in Final Cut, drop your footage in at 100% size and move it left or right to do a sort of pan-and-scan, but I'm not sure how Final Cut will handle that. You might find your real-time performance goes into the toilet.
by Jeff Harrell
- Café LA
Yeah, I think you're not very likely to find what you need here. Maybe I'm wrong, but it seems to me that people who volunteer their time and expertise to a Final Cut Pro message board probably don't do a whole lot of this sort of thing on Windows.
If they do, I bet it's on Avid.
by Jeff Harrell
- Café LA
There are definitely a number of tricks that can smooth out a jump cut in an interview. I've never been a fan of the dissolve personally; I don't like the look of dissolving from one shot to basically the same shot unless it's done just right. I did an interview piece once that needed a slow, dreamy look, so I used a lot of long dips to black between "paragraphs," along with some prelap
by Jeff Harrell
- Café LA
I hate to be an Errol Morris fanboy, but I think he's pretty well proved conclusively that an occasional jump cut in interview footage is totally acceptable.
It just needs to be, as the saying goes, a motivated cut.
by Jeff Harrell
- Café LA
Neither. FileVault is a security feature meant for use on laptops that have confidential data on them. I would strongly recommend not using it on your editing system.
by Jeff Harrell
- Café LA
I called Aja once to get their help figuring out why I wasn't getting audio out of the unbalanced outputs on my break-out box. Turns out those outputs weren't plugged in.
The guy was nice enough to put me on mute while he and his coworkers laughed at me for five solid minutes.
Best support ever.
by Jeff Harrell
- Café LA
I talked to them twice today. Hit "zero" when you hear the answer prompt. I got people right away.
by Jeff Harrell
- Café LA
You can open the image sequence in Quicktime Player and save it as a movie. Make sure you "save as," not "export." This should preserve the alpha channel.
by Jeff Harrell
- Café LA
I'm sorry, I have no idea what you're talking about there. 29.97 is a video frame rate, and is not applicable to audio.
I'm understanding you correctly, right? You're talking about preparing a music track for on-set playback?
by Jeff Harrell
- Café LA
If you want to shoot at 48, then yes, your on-set playback needs to be at 2x speed. Soundtrack Pro has a retiming function that can change the speed of a music track while preserving the pitch.
If you want to shoot at 60, you need 2.5x on-set playback.
by Jeff Harrell
- Café LA
Derek, you're absolutely right. Interviews are hard. I once had to interview a bunch of people who'd just been media-trained to do live TV, and it was awful. The footage ended up largely unusable. They were so stiff, with that dead-eyed look of somebody who's thinking before he's speaking.
Whenever I have to do an on-camera interview (conduct one, I mean; I became an editor so I never have to
by Jeff Harrell
- Café LA
Don't take Derek's comments too personally, Ben. He means well. ;-)
It's a very skillfully done piece. Editors are the world's worst Monday-morning quarterbacks, and we could all tell you three or four or forty things we would have done differently. But I'm sure we've also all seen worse promo pieces.
I had a client a few months back who wanted a "Brady Bunch"-style ending to a sh
by Jeff Harrell
- Café LA
Okay, fair enough. I meant "mythical" in the sense of "not available for purchase."
And Shane, not to be argumentative, but remember when shooting HD meant using a giant Ikegami studio monitor? If there's a demand for it, technology trickles down. What I was musing about was whether there's gonna turn out to be a demand for shooting 3K in the market that normally buys $3,00
by Jeff Harrell
- Café LA
That's the AG-HMC70. It's only got a 1/4" sensor, so it's kinda on the "sumer" side of "prosumer." The as-yet-mythical AG-HMC150 is supposed to be Panasonic's "real" AVCHD camera.
Sony has no pro AVCHD gear that I'm aware of.
I think it's safe to say that whatever its technical merits or liabilities, it's still way too early to consider investing in an AVC
by Jeff Harrell
- Café LA
You can burn HD-DVDs with DVD Studio Pro. There are BR options that involve third-party hardware and software. I'll let someone else elaborate on those.
ProRes 422 is a better codec than Apple Intermediate in every respect, but it requires more storage and disk bandwidth.
by Jeff Harrell
- Café LA
John, it's not about Sony "trying to play" anything. You're coming at this like it's some sort of objective question, where one format is clearly and obviously superior to the other. It just ain't so.
I'm not sure what you're referring to with "problems with fast pans and sudden zooming," but it sounds like you might be talking about rolling-shutter artifacts. That's got no
by Jeff Harrell
- Café LA
Not to nitpick, John ? okay, fine, I do mean to nitpick, since this is a very important nit ? but 4:2:2 is not a color space. It's a chroma subsampling pattern. And unless you're pulling a key, the difference between 4:2:2 and 4:2:0 or 4:1:1 is pretty negligible.
And of course DVCPRO HD isn't the only 4:2:2 format out there. HDCAM SR is either 4:2:2 or 4:4:4, and XDCAM HD422 is 4:2:2, as the n
by Jeff Harrell
- Café LA
"Super 35 sucks. It's impossible to edit on my iMac."
(No. I'm not saying HDV is the same as 35. I'm just saying that "hard to edit" isn't necessarily a deal-breaker. Sometimes it's a trade-off you're willing to make in the name of overall cost or to avoid a tapeless workflow.)
by Jeff Harrell
- Café LA
Hang on a sec, Shane. You're saying HDV sucks, but as an alternative you're pimping AVCHD? You're a smart guy, so when I hear you say something that's seemingly insane, I assume I'm just stupid. Please explain how I'm stupid on this one.
by Jeff Harrell
- Café LA
I think you're thinking of Peter, Wayne. I work in 1080 on shows that have shooting ratios on the order of about 600:1. Anything less than a terabyte online is impossible for me. The G-Speed will give me about a T and a half of usable space.
by Jeff Harrell
- Café LA
I sure as hell hope they've got a future. My 2 TB G-Speed ES is supposedly in the mail.
by Jeff Harrell
- Café LA
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