Aaron Neitz
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After Effects Coin
Forum Replies Created
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I’d recommend offline at DVCPRO-HD. Small file sizes, the G5 can readily handle it, it will look great for editing.
Then recapturing for your final will be very easy – no transposing of timecodes. Also, depending on the intensity and production level of the project, you might be able to deliver DVCPRO-HD laid back to HDCAM for final. That’s a network quality control question, but a lot of them will accept it.
I don’t think a dual G5 can handle ProRes. It’s very processor intensive. Having said that ProRes HQ is phenomenal – you’d be very hard pressed to tell the difference between it and uncompressed HD.
Personally I wouldn’t sweat the move to FCP6. In many ways 5.1.4 is more stable and less buggy. I did a lot of HD work on my G5 with 5.1.4 and it never let me down.
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16 million TB’s of RAM is impressive
Large project files have always been problematic. My last one around 230 was extremely crashy – and I certainly couldn’t open more than 1 project at that rate.
1) try changing your Prefs for system memory usage. Try 87% for application (the old Combustion trick)
2) pare down that project file. Save a copy that only contains the sequence or sequences that are needed. No clips in bins, nothing. All that junk gets loaded up and can bog things down.
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Yeah. It’s pretty vapid…. I’m not downloading it.
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Welcome to HD. You could gain some performance by working in uncompressed (ProRes is a processor intensive codec. It looks super, but takes more horsepower to sling around), as well as getting faster media drives like an external fibre RAID. If you keys will take it, 8 bit codecs will also be much faster (ProRes is 10 bit)
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It looked squeezed because the format you’re editing in FCP is 4:3 anamorphic. FCP detects this and letterboxes for you.
The Flame artist should have caught this and simply hit the 16:9 button on their TV so you could view it properly.
You’ll have to manually let FCP know the footage coming back is anamorphic.
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Well what does leasing mean in terms of adding 3rd party hardware like a Kona card?
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For me, Audio will often reconnect as Mono (that is you’ll see two tracks, but it will connect only the L channel from and aiff to both….)
sometimes speed effects go bad.
most cuts and dissolves should be solid though
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No way. You must go to 6. Or get the guy editing in 6 to give you XML’s – but then you need to go sequence by sequence, and XML’s are sometimes a little buggy
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Discreet is unable to deal with the flags on your DV tape that give you that 24p. EDL’s and XMLS would be pretty much an enormous headache.
An image sequence is the only fool-proof way to get every frame correctly into the system. Or if you’re in the same studio you can run an SDI feed from your FCP to them…
Flame does have some limted support for Quicktime, but it’s pretty limited.
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So yeah, progressive originated material on a interlaced tape.
You run into these “tech” people sometimes that have enough information to get themselves into trouble, and in the process try and make you look like a dumbass. I remember once a tech stopped a 11th hour satellite feed because of a similar lack of knowing his s***