Adam Smith
Forum Replies Created
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[David Jones] “And no matter what anyone posts here or tells you, there is NO WAY to record more than two totally independent (un-mixed) tracks of audio on any currently produced camera.”
Maybe there’s some sound-guy high-tech reason why I’m mistaken, but I own an HPX-500 and it does indeed have 4 channels and 4 inputs… can you explain what you mean?
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Video Photographer / Avid & Final Cut Editor -
[Graham Futerfas] “I’d like to create 60 frame slow motion over 24 frame playback, though. I shot both a 60i test and a 30P test…”
Bummer you can’t shoot 60p and convert to 24 like on the 500, but I guess the massive increase in imaging makes up for it! =P
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Video Photographer / Avid & Final Cut Editor -
[Jeremy Garchow] “There’s no reason to do this?”
Well no, no good reason I can think of… but just cause I try to answer a question doesn’t mean I’d DO it. =P
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Video Photographer / Avid & Final Cut Editor -
Your file should be fine – he may need to double-tap the video to get it to zoom back out. Mine seems to default to whatever I had it set last time.
I have movies at 480×208, 480×256, 480×272 and more and they all play fine either way, full-frame or enlarged to fill the screen, and I can switch back and forth at will. I don’t know that there’s any way you could incorrectly encode the file to force the phone to display maximized, other than somehow stretching the video to fit an out-of-aspect size and therefore having a movie that plays back distorted on your Mac monitor.
I suppose to make him happy you could find a way to pad the image… so instead of a 16×9 movie playing with unused space at the top and bottom, you’d include black bands in the video source – your file would be larger for it but at least it’d completely fill the frame and be impossible to us the iphone zoom feature.
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Video Photographer / Avid Editor / Final Cut Neophyte -
He wants to capture a clip, do something to it in FCP, then export the clip saving it over the top of the original. And have the clip in the bin reference the new exported clip instead of just complaining that the original clip is gone.
I would tend to think you can’t just save over the top, since you’d be trying to delete a file that is in use (since it’s the source and likely being referenced to create the new file).
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Video Photographer / Avid Editor / Final Cut Neophyte -
Next time you can create a metadata file on SD card, provide a clip name (and a lot more if you wish) and have the camera name clips sequentially as you shoot.
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Video Photographer / Avid Editor / Final Cut Neophyte -
[walter biscardi] “A camera is never a good input device for digitizing. You really want an HDV VTR which makes it much easier to work with non-linear editing systems.”
Oh I agree… but the client doesn’t have a deck and I don’t shoot HDV so neither do I. It was the camera or nothing. Either way I would have ingested it in 30 minute chunks, but with timecode I would have had a backup plan if something goes wrong with the media.
In the future, I’ll recommend the client pays me to shoot on my P2 camera and we can skip the deck issue entirely! =)
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Video Photographer / Avid Editor / Final Cut Neophyte -
I couldn’t get this to work with the JVC HD-110, tried for 30 mins and finally gave up on having timecode (wasn’t that important).
I set the camera to DV out and fed component analog to my Kona LHe, but the camera ‘helpfully’ flashes a warning on-screen telling you to change the 1394 switch when you’re playing HDV but have the switch set to DV.
Perhaps setting the internal playback menu away from AUTO select would have changed things… guess I’ll have to test again once more before I write that strategy off (at least with this camera).
-Adam
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Video Photographer / Avid Editor / Final Cut Neophyte -
[David Wulzen] “It is kind of a pain to ingest through Final Cut, then through Compressor, but it’s less time than dumping the whole thing off to tape. Would having Raylight dramatically change things?”
Raylight allows you to work with the P2 content via quicktime pointer files (like a reference movie). Instead of ingesting (duplicating/rewrapping) the P2 media into FCP first, you could drop the raylight quicktime files into any application and start working.
So you’d offload your cards, show Raylight the media, and then take the new quicktime files straight to Compressor, skipping ingest time and using half the disk space.
https://dvfilm.com/raylight/mac/index.htm
-Adam
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Video Photographer / Avid Editor / Final Cut Neophyte -
I’d do like Shane said and try downconverting everything through Compressor – although you might want something like Raylight to streamline the process – I’m not sure if Compressor can access the MXF files directly. Actually, now that I think about it, I would prefer this workflow by a hefty margin if the quality is there.
If you prefer the Kona 3 uprez route and you have the gear/money to upgrade any other hardware, then I will say after working in HD on only a few projects I’d be totally happy never to touch SD again!
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Video Photographer / Avid Editor / Final Cut Neophyte