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Given that this is HDV we're talking about, and it's all the same tape, maybe you could just hand them a downrez'd DV master (render it overnight ? or over a weekend) and give 'em an HDV master for nothin? They get what they asked for, and also what they should have asked for, and all it costs you is render and lay-back time.
by Jeff Harrell
- Café LA
Hang on a sec. I think there are a couple nuances here that have been overlooked so far.
The Sony F900, which is a great camera, shoots on HDCAM. There's no codec associated with HDCAM; it's an "uncompressed" (that's a figure of speech) format like Digibeta. The output on the back of an HDCAM deck is an HDSDI spigot. When you capture that footage for editing, you're going to have to
by Jeff Harrell
- Café LA
I'm curious about this recommendation you referred to. In what context did somebody say you use go to a colorist who uses Color as opposed to one who uses a da Vinci?
Color isn't precisely new; it's Apple's rebranded version of Final Touch. So colorists who are familiar with Color probably aren't exactly rare. But da Vinci has been the de facto standard for so long that I think you're more lik
by Jeff Harrell
- Café LA
Getting permission to use a published song is a very fuzzy process. A friend of mine did a promotional video for a very well respected non-profit foundation; the client wanted to use a U2 song. It took months to get the okay from all the various lawyers. Ultimately the answer was "sure, fine, no problem," but getting there was an ordeal and a half.
by Jeff Harrell
- Café LA
That was a pretty revealing analogy there, Derek. I think you might have given away a little bit more of your personal life than you meant to.
MPEG Streamclip is a great tool for turning MPEG-2 and similar non-editable formats into something you can cut. Fast, easy to use and very dependable. It's free, too, astonishingly.
by Jeff Harrell
- Café LA
These questions are matters of opinion, not objective fact.
With that out of the way, I'll tell you the truth as best I know it.
When you say you're "editing HDV," I'm going to assume that you went out and shot some footage with a camera that records HDV to tape, and that that footage is right now sitting on a tape somewhere. (This will be important in a minute.)
The best way t
by Jeff Harrell
- Café LA
I'll take it off your friend's hands for a nominal processing fee, if he can't stand to be in the same room with it any more ?
by Jeff Harrell
- Café LA
The law regarding copyrights and DVDs is very complicated. I'm just educated enough to be aware of the complications, but not educated enough to be able to advise you.
by Jeff Harrell
- Café LA
I'm not sure you're gonna get a lot of help here if you're trying ? as it sounds like you are ? to use somebody else's work in violation of copyright.
by Jeff Harrell
- Café LA
Wayne, I think we're talking about broadcast monitors here, not graphics monitors. Even for doing basic TV work, a broadcast monitor with 10-bit support and an SDI input can be pretty important. Less so for editing, more so for color correction or compositing.
Yeah, you can spend as much as $30,000 for something like a decked-out Cinetal. You can also get a brand new Sony BVMA20F1U ? which is
by Jeff Harrell
- Café LA
If you're on Final Cut 6, the system will ask you when you edit footage into a new (i.e., empty) timeline if you want to make the timeline match the footage. Say yes.
(Insert stock rant here about how H.264 is not a good editing codec.)
by Jeff Harrell
- Café LA
The last step in my workflow is to create a Quicktime master in ProRes 422 HQ, either 1440x1080 or 1920x1080 depending on the job. Then I run that file through Compressor to create a 720x480 anamorphic SD master, also in ProRes 422, with pass-thru audio.
Sometimes ? and this doesn't seem to be consistent ? Compressor fails on the job with a "codec not installed" error. I can't figure
by Jeff Harrell
- Café LA
I'm gonna say something unpopular here.
I prefer HDV to DVCPRO HD.
I know, I know, I'm clearly dangerously insane, and should be locked up. But hear me out before calling the authorities.
I am not a cinematographer. I know which end of the camera to point at the talent, but beyond that, I'm strictly an amateur. I do a fair amount of shooting with a Canon XL H1 ? not a $6,000 camera, but
by Jeff Harrell
- Café LA
Do you want to letterbox your program (show it in 4:3 with black bars on the top and bottom) or pan-and-scan it?
There are three different types of MPEG-2 files: elementary streams, program streams and transport streams. Compressor's presets generate elementary streams, for use on a DVD. But you can create your own preset to make either a program or a transport stream really easily. Do you kno
by Jeff Harrell
- Café LA
QuoteFCP 5.1.4
Color 1.0.1
Confused. Color is part of Final Cut Studio 2, which includes Final Cut Pro 6. How can you be running Color alongside an earlier version of Final Cut?
by Jeff Harrell
- Café LA
Yeah, in a sense I'm a little lucky. I've just got my graphics card. No FC or I/O boards as yet. So putting in a Firewire card will be easy.
Thanks for the input.
by Jeff Harrell
- Café LA
Cool, Shane, good to hear it. Do you think the Firewire trouble you run into is a function of mixing devices on the same bus? I'm lucky enough to have a Mac Pro with some empty slots here, so I'd be happy to just drop in a Firewire card and give the mixer its own bus.
by Jeff Harrell
- Café LA
I'm thinking about buying a Tascam FW-1082 mixer-slash-control surface to use with Final Cut Pro 6 and Soundtrack Pro 2. I've heard good things about it, but I've also heard some iffy things about compatibility.
I'm running 6.0.4 and 2.0.2 on 10.5.4, and I'm planning to add a PCI Firewire card to give the 1082 its own bus if I decide to buy one.
Has anybody had any experience with this part
by Jeff Harrell
- Café LA
A lot more detail would be helpful here.
In lieu of knowing what you're actually doing or what's actually going wrong, all I can say is that lots of people use that camera. I use an HV30 sometimes myself ? it's just a variant of the HV10 ? and it works fine. So what you're trying to do is possible. There are any number of things that could be going wrong, though.
by Jeff Harrell
- Café LA
If we assume FCS3 makes its debut at NAB next year ? maybe, maybe not, but it's a fair guess ? then it will have been nearly three years since Apple discontinued the Power Mac G5. So dropping support for that architecture seems pretty reasonable to me.
But remember that you saw those notes on a Red forum. The Redcode QuickTime plug-in has always been Intel-only. I don't know whether that's bec
by Jeff Harrell
- Café LA
I haven't the foggiest idea what you mean by "16x9 is inside 4x3." But that sounds wrong.
It sounds like you're talking about SD, since these concepts really don't apply at all to HD. In standard definition, there are two ways of getting a 16x9 aspect ratio: a letterboxed image, or an anamorphic image.
A letterboxed picture is just an ordinary 4x3 SD picture with some scan lines a
by Jeff Harrell
- Café LA
Do any of y'all have experience setting up a Qmaster cluster for Compressor? I know this is more of a sysadmin question, but I was hoping I might be able to make contact with somebody who's worked with somebody who's done it, and thus be able to talk to some really basic questions about capabilities and configuration and stuff.
The exec summary is that my employer's chief engineer is mulling o
by Jeff Harrell
- Café LA
Oops. I thought for sure that would at least lessen the severity. Oh, well. Sorry about that. The advice to do it elsewhere ? I use After Effects myself ? is sound.
by Jeff Harrell
- Café LA
In the "video processing" tab of the timeline settings box, make sure "motion filtering quality" is set to "best." Then this will probably work fine.
by Jeff Harrell
- Café LA
A vectorscope is handy when you're trying to figure out exactly what move to make to improve a look. Putting the waveform monitor in parade will help you balance out a picture, if that's what you're going for. And that little spike on the vectorscope that says "flesh tones" is useful for making people look natural. Again, if that's what you're going for.
But the scope is a tool, not
by Jeff Harrell
- Café LA
I still use it. Not all that often, as I'm not a professional compositor. But there are times when it's the easiest way by far to do a simple composite.
And at $500, hell, I say put it on every Final Cut system, just in case you ever need it.
by Jeff Harrell
- Café LA
"The mouse on the PC's always did work better than the mouse on the Mac, hence the popularity of hot keys when operating Macs"
My hand to God, I feel like these messages have fallen through a hole in space from some parallel universe.
I'm not going to rise to the bait and call you incompetent. That'd be uncalled for. I'm just gonna say that you're complaining about a lot of thing
by Jeff Harrell
- Café LA
You've got Final Cut auto-saving every minute? No wonder your system is sluggish.
by Jeff Harrell
- Café LA
Leap A isn't even a virus. You have to manually open and run it. It's roughly equivalent to sending an email message to all your friends that says "OMG, you totally have been infected with a virus! Please delete all your files now!"
by Jeff Harrell
- Café LA
There aren't really any virus programs for the Mac because there aren't any viruses for the Mac. Once in a very great while you'll hear about somebody who demonstrated, in the lab, that a Mac virus could conceivably work, but there haven't been any reported in the wild since Mac OS X was released.
A Trojan horse is something else. That's when you download and run a program that poses as someth
by Jeff Harrell
- Café LA
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