[Anna Chiaretta]

Hello I am seeking a longer conversation on this topic…

I haven’t seen anything on the market that supports all three editing systems, so I am focusing my energy on designing an avid workstation since I am in a position to start from scratch (and am in the process of learning avid, I have been an FCP user since its inception and trying to get over the low blow of FCPX by finding a new lover).

-Are there any digital based systems (software plug-ins perhaps) out there for establishing monitoring on-screen (not broadcast monitor)? Similar to how we do for print work with inDesign or Photoshop with an iOne display device. I am producing content solely for web with the occasional possibility of iPad or display systems of that nature. I just feel like there must be a new front for this kind of media production that never moves beyond the uncalibrated consumer computer screen (beyond vimeo or youtube) of course there is the archiving factor which has me shackled to broadcast, but it seems like there are possibilities to avoid the old tape based reality of hardware interfaces.

-Any other broadcast monitor recommendations (for people who make stuff just for the web).

-recommendations on hardware interfaces for monitoring in Avid?

I would love to hear about peoples set ups for monitoring both in production and post specifically in context of web end product. And of course the whole between-the-lines of this production is the money saving for a non-profit organization factor and my being a quality obsessed perfectionist that works for them… conflicted!

[Anna Chiaretta]

This is a question from my intro to media class. You need to do some more learning before taking on clients.

With the camera turned on and connected via firewire start final cut.

Go to A/V Settings on Final Cut

Device Control Preset – select HDV Firewire 25 fps

alt F12 or view refresh AV devices…

HDV can be finicky so you may need to restart FCP and check your settings again, perhaps try basic or firewire PAL in case the shoot was in regular pal as opposed to HD.

AND

Don’t use cameras to capture footage, unnecessary wear and tear.

VIDEO ARTIST AND TECHNICIAN EXTRAORDINAIRE

[Anna Chiaretta]

I am in this same debate now months later and I still can’t decide. Money is a big factor, I am trying to get a decent video camera (AX2000 or EX1 if grants come through).

I will be doing a lot of editing of performance documentation jobs, so 1-2 hour videos primarily, and also my own work as an artist (anywhere between 1 minute and 6 hour videos). I feel like it might make more sense to get the 3.6 i5 iMac, since final cut doesn’t do multi-core processing (at least from what I understand on the forums I have read).

Then once I have some money secured and regular clients invest in the MacPro… or is it really really worth it now? like eat ramen all next year worth it?

thanks.

[Anna Chiaretta]

I have a similar problem. If I stay at 720p (recorded size) it is not noticeable, however when I downres for NTSC or smaller for web there is a major color shift, and due to some minor animating it destroys the illusion.

I hope this makes sense: The footage was shot so that in post I used motion keyframing to have the subject of a tracking shot slowly enter the frame (in the original camera footage subject begins slightly in frame). The background is blown out completely to be brighter than broadcast safe white so that I can blend it with a white color matte as the video keyframes into place. When exported in prores it is fine. When that file is compressed the edge of the video frame shows as an off white. It is maddening, I do compressions where I recompress all frames… still shows up wrong.

any ideas?