Michael Slowe
Forum Replies Created
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What I would do (if you have to, see other post) is to take it into Media 100 as HD to start with and edit as HD on an HD timeline. Then open your 4:3 SD programme, drag the HD into it and the conform window will appear. You will be presented with the option of changing the framing within the 4:3 frame as you rightly say. But by crafty manipulation of the sliders (horizontal and vertical) you should be able to limit the ‘damage’ to your picture.
Michael Slowe
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Well, maybe I’m a bit over the top but Media 100 does get rather ignored amidst all the hype concerning FCP. Sensible, intuitive workflow with out having to go into different menus at every stage and great performance, yes, as far as I’m concerned, the best.
Michael Slowe
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Gentlemen, not one of you has mentioned the best editing software of them all, Media 100. Now that Boris has taken them forward in the last couple of years it is the best. Intuitive to use, reliable, ideal for anyone who has edited film and (now) technically advanced. Final Cut I know is the ‘in thing’ but far more complicated (unnecessarily so IMH opinion) and with a steep learning curve. Used it since 1996 and never regretted my choice.
Michael Slowe
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Yes, Andrius, I’ve heard that before but doesn’t it costs THOUSANDS? I believe Hollywood uses it for their feature films with multiple passes but is it practical for us?
Michael Slowe
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Couldn’t agree more with Ron’s views on auto audio. Working single handed on ‘run & gun’ there’s no way I can monitor audio as well as manually deal with iris and focus, which is preferable to changing audio levels. I set the levels quite high in the menu, knowing my mics I adjust differently for each and never have bad levels. For me wind noise is the big problem, no matter what ‘fluffies’ I use. I think the hard cylinders are the best.
Michael Slowe
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Andy, I often use a similar set up and I have a boom mic on channel 1 (set ‘external’) and the radio mic on channel 2 (also set ‘external’ but as it’s powered set it to ‘mic’ not 48 mic). You then get two completely separate audio tracks which you can juggle on your timeline selecting exactly what you want. Sometimes I use both at once if I need background FX.
Michael Slowe
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Mark, I don’t know about Blu-Ray but with the older versions of BitVice I was making SD DVD’s from my HD timeline and an hour’s film would take all night, about six or seven hours. It was the downscale as well as the compression but of course BD does not involve a downscale, just the compression. If you can just leave it o do the job then you’ll know for next time, it’s the result that matters.
Michael Slowe
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I edit in Media 100 and can import EX clips using Sony EX Transfer directly into the ProRes codec but media 100 is rendering at the same time.
Michael Slowe
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Maybe even though you have set the gain to -3db the camera is set to full auto in which case, in low light, the gain is being automatically raised?
Michael Slowe
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Berhard, if you are going HD timeline to SD DVD I find that BitVice does the best downscale. The new versions seem to have improved a lot. I agree that the old Media 100 versions that had the board do the downscale were the best but that was with an expensive board no longer compatible with the new Macs.
Michael Slowe