Alan Okey
5
COW Coins
2
DaVinci Coins
Forum Replies Created
-
Unfortunately, the “export to compressor” feature cannot utilize virtual or actual clusters set up via Qmaster. I work in an environment in which multiple computers are set up as nodes in a Qmaster cluster, so I typically export QuickTime reference movies and then submit jobs to the cluster in Compressor.
-
I’m pretty sure that xmEdit’s Traffic is no longer being actively developed, but it’s a good example of what’s possible:
-
“All the Pro applications that I’ve tried (Bitvice, CinemaCraft, haven’t tried Episode), by default uses Open GOPs.
rafael”Indeed. From the BitVice website:
Adaptive GOP Structure
The structure of each GOP is adjusted according to different measures and statistics from the pre-flight pass. The BitVice does not encode an I-frame or even P-frames where not needed. This is one of the tactics, used in the BitVice concept, to minimize misplacement of valuable bits.
-
Just to clarify, do you need a RAID card that will create a RAID using the hard drives in the internal drive bays of your Mac Pro?
-
Try re-rendering your clip in AE using ProRes 422 instead of XDCAM EX, and change the codec in your FCP sequence to ProRes 422 as well.
-
It’s not as simple as just getting a lens. It has much more to do with the size of the image sensor in the camera. It’s difficult for a 1/2″ chip camera to achieve the shallow depth of field possible with a 35mm camera. An entire industry has evolved to address this fact, and there is no cheap solution.
35mm adapters allow video cameras with smaller image sensors to use 35mm lenses and achieve a very shallow depth of field. They have limitations, and they are expensive. A good introduction to the process can be found here:
https://philipbloom.net/2009/03/17/letus-35mm-adaptor/
I agree with Rafael, you need to educate yourself about some basic photography terminology and concepts, specifically about what depth of field is and how to control it.
While it’s easier to achieve a shallow depth of field with DSLR cameras, there are many caveats to using them for video as outlined by other posters in this thread.
-
It sounds like it might be the case that your camera’s widescreen mode records letterboxed 4:3 instead of true anamorphic 16:9. If that’s the case, capturing the video as anamorphic and editing in an anamorphic sequence would create the distortion you described.
-
Try setting your shutter to 180 degrees, and make sure manual shutter is on.
-
Your Mac Pro should already be a fairly capable editing system. What kind of HD are you planning to edit?
Upgrading the graphics card will make no difference in editing and rendering speed in Final Cut Pro. Applications whose performance is directly influenced by graphics hardware include Motion and Color.
You’d be better off increasing your RAM to 8GB – the best configuration for your model of Mac Pro would be 4x2GB, with 2 slots filled in each riser.
Final Cut Pro’s editing performance (overall responsiveness and number of concurrent realtime streams) is directly proportional to storage throughput speed. If you can’t afford a true hardware RAID, you could always create a striped RAID-0 volume using three internal drives in your Mac Pro, leaving the fourth drive dedicated to the OS and applications. Just make sure to have regular backups of your media, as RAID-0 offers no redundancy. Never store video on your system drive.
What formats of HD are you planning to work with? Codecs like HDV are fairly processor-intensive for editing, and rendering speed in FCP is mainly limited by CPU speed. If you want to speed up rendering time in FCP, buy a new Mac Pro with the fastest CPUs you can afford, and make sure you have adequate RAM.