Al Bergstein
Forum Replies Created
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Yes. They do. I use them all the time (when I use Vegas these days). Try copying them from onto a Windows formatted USB stick and see if that helps. I assume you formatted the Mac drive using Apple’s disk utility that formatted it to a Windows formatted drive?
Al
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Beyond the extensive help system Adobe has put into place, yes that that F1 key brings you, I bought “An Editor’s Guide to Adobe Premiere Pro” By R. Harrington, Carman and Greenberg (for 5.5). It looks like the version for 6 is about to be released. I have appreciated Rich’s video training sessions, and his book was very useful to me in jumping from FCP to Pr. If you feel you need a manual, and aren’t starting from total beginner, you might want to start with this.
Also, I have watched a lot of training videos and find that both Adobe and Rich have some very useful topics on almost any subject. Rich also did a great training available on Lynda.com
Al
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Yeah, Bob is right, and I forgot to mention that on my musical shoots, I always hire a sound guy. Docs are a different beast. But having a separate sound guy is the best of all possible choices.
Al
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I am not a ‘professional’ sound guy, but care deeply about the sound quality of my videos. I have been lucky enough to record with a wide range of gear in the last two years. I’ve made a ton of mistakes, but have also learned a lot.
So here, with the benefit of some hindsight, is my list for you to think about. If you are near a major city, rent first.
1-4 XLR inputs? Does that mean you would take 2? Or that you have to have 4?
If 4, then:
#1- Sound Devices 722
#2 – Edirol R44
Both can be bought with or without time code, which sounds like you don’t need. I had it on a Sony, but found I never used it for doc use. For ruggedness, I’d have to give the nod to the SD unit.If you only need two XLRs (which it sounds like you do), then SD has a 2 channel, and the Edirol for the price of 4 isn’t much bigger than a 2 channel unit like the Marantz below.
At the ‘lower’ end, I have been using and love, the Marantz PMD 661. It gives excellent sound, is in use by many professional radio stations for field recording, and has a variety of input selections. Lo noise, etc. It is my ‘go to’ unit. (I have had a Tascam HD-p2 which I sold, it was too large for a 2 channel, and a Zoom H4N, which I would not buy again, as it’s no where near professional grade, though it is a good recorder for serious amateur musicians). I highly recommend buying the case for it, either the Marantz case or the B&H portabrace combo.
SD is obviously the choice is price is no object, and you want the widest range of options in rugged field locations. Unfortunately, I don’t use a sound man much of the time (my budgets are too small), and have found that both the Edirol and the PMD661 give about equal quality for the results.
If I was traveling overseas and into really difficult outdoors conditions, I would spend the money on SD.
I also find using a mixer almost, but not always, essential. I use SD for that. They are the best, IMHO.
Best of luck.
Al
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Wmv might be important if you are wanting to edit a poewerpoint presentation. I recently had to add a video soundtrack to a ppt andtime it. Then add a network bug. Powerpoint on Windows only exports that to wmv. Not sure if the mac version of ppt does. Just so you know.
Al
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I believe I may have solved it, as I uploaded the update to 6.0.1.31 and it appears to have fixed the problem. I have multiple workstations so I had not updated the one that I was using. What I can report is that it went away during the first pass I made on it. I didn’t have time to do additional testing on it, since I’m under a bit of a deadline. But I did get through it once after the update, which was enough to get it out on the net for them to review.
I was under the belief I had been up to date on all machines, but this incremental update appears to have fixed that ‘bug’. (it appeared to only affect that particular render choice).
Al
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Baptiste, there are so many choices that you really need to do more education on the Internet to narrow it down. You have posted here to a Canon board, so we have a bias on Canon over others, if we have a bias at all (these are just tools, after all).
You need to do a better job of understanding and explaining the kinds of shooting you are doing, to better understand the choices. (i.e. Sports,Narrative, Documentary, theater, weddings)
Start with any and all of the discussion forums on “which camera to buy” found here, and on many other similar boards on the net.
Al
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Tim, while I probably don’t have anything to add to this as to recovering that Canon hasn’t already said, what cards did you use? I found that I had significantly higher problems with anything other than the Sandisk Extreme Pro UDMA 6 90 MB/s cards. Since switching to them I’ve *never* experienced a lost file. But, to be safe, I always shoot dual slot for paid gigs, unless I am covering an event that requires me to shoot continuously for longer than one card can handle. Since the cameras do dual slot recording (I use an XF300 and 100) I use it. I’m sure that others are using other cards just fine, but these have been flawless so I don’t feel any need to change.
Hope this helps in the future.
Al
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Wish I could find someone to be an E2 or A2, but I find that many folks here in the Pacific NW don’t want to work cheaply, maybe there is a lot of jobs for them up here! there is an expectation that “I’m worth more than not much” when really, they aren’t. I was guilty of some of this myself as a 20 something. Many younger filmmakers have a much higher opinion of themselves than their experience dictates.
I (as the business owner), *find* the jobs. It’s called sales. I sell myself, my business and my experience. They don’t hire my E2 or A2. They hire me. I had one A2 working for me that actually went up and gave the customer her business card! WTF! I almost immediately threw her off the set. She has not been asked back. Go out with the crew and the client afterwards for drinks? Sure. But give them a card? That’s stepping over the line.
In the *old* days, I would work for cheap to get the experience. Apprenticed for a time for free as well. I still give away some work if it seems interesting.
So to the point of the OP, yes, you are apparently not valued enough by the clients for whatever reason. You might be looking in the wrong places. There might not be enough work in your local world. Charging more might help, but might not. You likely have some issues that maybe a consultant in these things might be able to point out and help you change.
As mentioned before, if you are really fed up and don’t want to try something new, we seem to be in agreement that it’s likely time to move on, do something that makes money, and do video for the love of the medium. That’s what I did for 25 years, after selling my company to my partner when we lost our major client to an economic downturn, and I came back after I got to the point of wanting to do it again. Worked for me!
Al
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Not having a real viewfinder, (hope an aftermarket one is available someday), no headphone jack.but likeliy i’ll buy one for walking around use.slighly better than my iphone, not as handy. Lighter thn a 7d.not sure if it will replace my tm900 in that space.
Al