Andrew Rendell
Forum Replies Created
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My instinct is that it’ll probably be more complicated than a simple yes/no answer. However, IBM’s site has this:
“Provides cartridge compatibility with tape management solutions based on the Linear Tape File System format specification and existing standalone versions of Linear Tape File System (on IBM, HP, Quantum, FOR-A, 1 Beyond and other platforms)”
which implies that there should be a degree of compatibility between manufacturers, or at least that recordings made on a Quantum should be readable by an IBM transport.
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[Tawqeer Mirza] ” Would conversion of ProRes 422(LT) to h.264 and back lose significant amounts of quality?”
Yes.
Sorry, but serious quality loss when converting between compression codecs is a fact of life.
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I’ve got a Lacie Rugged 1TB which I use when I’m out and about which daisy chains quite happily at the end of a chain which goes MacBook Pro – GRaid (running on a power adapter) – Lacie on FW800. I suspect that the most important thing for the chain to work is that the GRaid has enough power on it’s FW800 port to run the Lacie, tbh.
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When our first came along I took 2 weeks off immediately. 4 weeks would have been great – those first few weeks are very tiring with the broken nights and looking back I don’t think I was really pulling my weight when I first got back to work until things settled down after few weeks (although everyone at work was really cool about it at the time). TBH, I don’t know what I would have done with myself for 13 weeks, I mean, the option sounds nice and family has to come first in your life in many ways, but in all honesty it was good for me to get back to work.
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I’d keep it fairly wide at this stage. You don’t know what you will be doing in five or ten years time, so every bit that you learn about now will help you later on.
Even if you do have a career in the specialization that you have in mind right now, knowing about the other parts of the business will stand you in very good stead anyway. And tbh not that many of us spend our whole career in one specialization these days.
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I would also supply a quicktime for them to check the shots against.
And check the reel numbers on the EDL, it can be confusing if the name has been curtailed. I usually include the clip name in the comments line, it can be very useful in if the reel number isn’t a very clear match.
Having said that, I can’t remember the last time I used an EDL for online (depending on the online system it’ll be a copy of the sequence, an aaf or an xml these days) but I still find them really useful for identifying the tracks/durations for archive and music clearances, i.e., print out an edl for just the music tracks and another one for just the archive clips and hand them over to someone else to do the paperwork.
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What software are you using to sync the audio with the video?
There’s a long standing issue with FCP that it assigns a “frames per second” speed to audio and if you haven’t got the settings right when you import it will, for example, slow down an audio track with an assignment of 25fps to match video at 24fps when you need it to not do that.
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My favourites at the moment would be Genelec 8020 or KRK Rokit RP6 for that kind of situation (and the next size up of each if you can stretch to it).
Come to think of it, it’s exactly the kind of thing that the old LS3/5a were great for (non ported = very tolerant of less than ideal acoustic environments), but I don’t think you’d get them close to your budget, too many willing to pay much more for them than they’re really worth.
No doubt others have their preferences and will hate mine 😉
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If I may add one extra thought into the mix; using it well, i.e., placing it in the best position and setting the gain correctly, will make much more difference than the choice between different budget microphones, so rather than get hung up on which mic to buy, get some practice in trying different positions, etc.
Even the best microphone will be severely limited in how useable the recording is if it’s attached to the top of a camera.
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There are some reasonable quality mic preamps from the likes of Beachtek and Juicedlink which would allow you to record onto your DSLR but you’d be very close to spending as much money as getting an external recorder anyway, so I wouldn’t really recommend that at the moment.
OTOH, I did a little non-broadcast thing in the summer recording onto a Canon DSLR which had the latest Magic Lantern firmware on it which can accept a balanced input (using the “stereo” mic input and only having one track), as well as manual levels and turning off the AGC. I used a simple XLR to 3.5mm TRS cable and a Rode M3 (powered by it’s own 9V battery). I had to put some gain in later to bring the recording up to a decent level and the quality isn’t good enough for broadcast, but for a simple thing destined for YouTube it worked out ok!