Andrew Rendell
Forum Replies Created
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I’ve been using MPEG Streamclip for this kind of thing – do “Open URL…” (copy/paste from the Youtube page), then “Export to Quicktime”, putting the required frame rate in as well as choosing Uncompressed 48k for the audio, size and codec, etc. That way what I get on my computer is clips that drop straight into FCP with no issues.
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Give a thought to classification. It may well be exempt, being educational, but I’d check it out just to be on the safe side.
https://www.bbfc.co.uk/I’m led to believe that schools generally have a narrow time period for purchasing, which is usually in the late spring/early summer when they plan for the curriculum and the budget for the next school year (that comes from knowing someone who has self published books, so it’s probably not a hard and fast rule but it’s very much the impression that one gets).
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I’m usually 30 days, sometimes staged payments on an agreed timetable, occasionally longer (45 or 60 days). The only time I agreed to wait “until the client pays us” I ended up not getting paid at all, so there’s no way that I’ll accept that again. Fortunately I’ve never been asked to do so.
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[Jeshua Horca] ”
I did a little of my own research and I might need a deck converter or something.”Unless you know the technical ins and outs of wiring up a deck via a suitable break out box and checking that your material is broadcast safe, it’ll be a lot easier and safer to take your material to a facility to play it out.
You can set yourself up to do that kind of thing in house, but get some quotes – it can be quite expensive (depending on what you consider expensive, of course).
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It’s basically multiple layers with a similar 3D move but a different Z position on each, which isn’t something that FCP is particularly good for (reminds me of building that kind of thing with a single channel of A57 and bouncing between disks for each layer a good few years ago – possible but not advisable when there are much better ways to do things).
As Shane says, Motion or AE is the way to go.
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strictly speaking VITC is on both fields so lines 19 & 21 AND lines 332 & 334 (in PAL).
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I have a template that I use as a confirmation document which has such things as client contact, working address, invoicing address, and so on (basically so that I don’t forget to get all the information that I need) and on the bottom I have a bunch of T&Cs – minimum call time, cancellation fees and so on. That way no one can claim that I sprung something on them that they hadn’t been informed of at the start.
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As you’re in the US you’ll be using NTSC (rather than the European standard, which is PAL), but other than that Betacam is Betacam, there’s nothing else to specify.
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I don’t think that this debate is about whether Apple have come up with a better/worse/different way of editing. It’s about the fact that Apple seem to be pushing us into something that isn’t ready yet.
I use FCP and Avid now (and I think it’s quite likely that I’ll be using FCPX as well at some point) and the choice of which one to use for a particular job is almost always down to how I’m going to interact with other professionals – what’s the best workflow for ingesting, for example, multi-cameras, then getting the cut out to the online session, sound dub, colour grade, etc. If the production has chosen to use a particular, say, colorist, then they’ll want to use some particular kit… usually there’s not much of a difference between FCP and Avid, but sometimes that choice can make life a bit easier somewhere along the line (and making life a little bit easier translates into time and therefore money).
When I’m doing stuff for the web, I’ll usually do everything myself and quite often the choice of kit is mine (I don’t do much that goes onto YouTube, but I do a fair amount that goes onto company websites), but in terms of my income that’s less than the broadcast stuff where the output/tape formats isn’t my choice, so if a software package doesn’t support what I have to deliver, it just pushes that choice out of the window.
To be honest, I’m not all that bothered about Apple’s PR cockup, I go where the work takes me and I’ll buy/learn whatever kit is necessary for me to stay in the game. Five or six years ago I thought that FCP was irrelevant to me and that Avid was where it was at; in the last year I’ve used FCP more than Avid; I wouldn’t like to guess what I’ll be using in five years time.
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It might be worth checking through the settings, e.g., the Resize filter – if it’s set to Best it will take a lot longer than Fast or Better, also if you’re creating a progressive file and the Deinterlace is set to Best, it will take much longer than Fast or Better. And Multi-pass will take longer than single pass.
When I do exports for viewing or posting on the web I usually reckon that the Better settings + Multi-pass are fine and the Best settings aren’t really worthwhile, but do some tests on a clip that’s a few seconds long to see what works for the material your using.