Andrew Kimery
Forum Replies Created
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[Joseph W. Bourke] “Looking back on it, it was pretty cool. At the time, not so cool…”
You know what they say, Joe. Adventures suck while you are having them!
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[Bill Davis] “Another good example of trying to mentally solve problems based on theory – rather than reacting to problems that ACTUALLY show up in the practical world.”
So, fundamentally, you seem to agree with Michael’s idea of a proper (ideal?) editing environment. You wanted an acoustically dead room and you got it (even w/out some of the suggested materials). You were concerned about the color of the walls but the distance from you to the wall is such that it is a non-issue. It sounds like the size of the space helped you achieve your goals.
Out of curiosity if you did have sound reflection problems and the teal was impacting your color perception would you have added the sound proofing panels and changed the color of the walls?
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Doesn’t everything in this section get blown way out of proportion? That’s the fun of it, no? 😉
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I used to use it somewhat frequently and while it did crash a few times my experience overall was good. And since the OP already has it why not give it a go?
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The Dream Color can work but with stipulations. Allan Tépper has written extensively about the Dream Color and what steps need to be taken to ensure that the proper signal (progressive and RGB) gets to the monitor so it performs as desired. If you are considering using a Dream Color as a replacement for a broadcast monitor I suggest reading up on Allan’s findings.
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You can use the Send to Compressor command to send a timeline to Compressor for exporting and that will allow you to continue editing in FCP.
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The only person that I would trust to answer the question is a competent IP attorney and the attorney isn’t going to be able to give you a finite answer until your doc is done (or close to done) and everything can be seen in context as context can play a roll in determining if Fair Use could apply.
I went through a lot of this while editing an indie documentary on the late comedian Lenny Bruce called Looking for Lenny (https://lookingforlenny.com/). In order to sell the doc we had to get E&O insurance (errors and omissions insurance) and in order to get that we had to get a lawyer to look at our movie, look at all of our releases and license agreements and basically say that in his legal opinion we have the proper rights to every image and every sound in our doc.
It really is a cat and mouse game as you need to start editing the film together before you can figure out what you can and can’t use. Many places want to see things in context before they give you the right to use them. For example, we used a headline from the LA Times and they wanted to see how it was going to be used in the film before they made their decision. So we sent them the snippet of the doc that contained their headline and they were okay with it and gave us permission to use it but one stipulation is that we could not alter it from what they had seen and if we did we had to re-submit for approval.
If you are going to be using a number of assets from a single source try talking them into giving you a bulk discount or explain what your doc is about, that it’s an independent movie and see if you can sweet talk them into a discount. A thing to keep in mind is that even if you believe something is Fair Use if someone sues you over it you still have to spend lots of time and lots of money defending yourself in court.
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In 2007 myself and another editor were the post end of a remote production for SpikeTV covering the VGA’s and a UFC fight in Las Vegas. As the events were concluding we started a 24hr editing marathon in our hotel rooms to get a variety of red carpet, event recap and behind the scenes type packages up onto Spike’s website as soon as possible. Even though I thought it was cool that with a minium of gear carried in a backpack (17″ MBP, FW800 drive, mouse, HDV deck & headphones) we could setup shop anywhere I never viewed it as a replacement for my cutting room back at the office anymore than I would view the hotel room as a replacement for a house or apartment.
Some gigs, like that one, prioritize mobility and timeliness over absolute quality so two guys with laptops on location trumps losing hours sending footage back to LA for editing. If that event was in LA then it would’ve detrimental to edit with laptops in a hotel room because the offices (which have better, faster gear) are located in LA.
To me the question is not “can I do it this way” but “should I do it this way”. For example, could I run a track meet in high tops or flip flops? Sure, but why would I choose to if I had running shoes (or better yet track spikes)? Would Usain Bolt in high tops beat Joe Average in track spikes in a foot race ? Sure. But when Usain Bolt goes to work it’s not against Joe Average. Are track shoes inherently better than high tops? No, but I wouldn’t recommend playing hoops in spikes or running hurdles in high tops. Horses for courses as they say.
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[Marcus Moore] “I’m sorry, but only a valiant wordsmith could pull vagaries out of that sentence. Tim was talking about the MacPro, and Apple PR later confirmed it with David Pogue.”
Apple has a history of valiant word smithing so I don’t see the problem with not taking the company line at face value. I would be surprised if Apple wasn’t ‘re-envisioning’ what a MacPro should be and I’m sure some people will love it and some people will hate it. In 2010, when pressed about the languishing FCP 7 Jobs said the next version would be awesome. Awesome is debatable but I think everyone can agree that X was drastically different and unexpected so I’m not one to think Apple isn’t beyond rocking its own boat.The Air has replaced the MacBook. The MBPr is going to replace the MBP. All Apple’s devices and computers are becoming more and more appliance-like (in that upgrading the machine means buying a new one) so I’m fully prepared for them to come out with what they feel a modern MacPro should be. I think I’d actually be a little let down if the new MacPro is just the same tower design but with updated specs.
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AJA’s utility shows 1080p24 ProRes HQ to be 24.7 MB/s where as Apple’s white paper gives a target bit rate of 175Mb/s aka 22 MB/s. These equate to 89gigs/per and 79gigs/per respectively (for just video, no audio). ProRes is a variable bit rate codec so there can be small fluctuations in file size between clips of the same duration.