Arnie Schlissel
Forum Replies Created
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Here’s another option. You can scale & recompose the footage in either Shake or After Effects, then render out int whatever format is native to your online timeline.
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So far as I know (and I spent quite a lot of time looking this past summer & fall) the only products that will do RAID 5 on a PCIe Mac over SATA right now are the Atto Express SAS, the Rocket Raid from Hot Point Tech & 3Ware’s Sidecar. I’ve been using the Rocket Raid since October (when it was the only one available), and it’s a little wonky. If The ATTO had been available, I’d have gladly paid the extra $600 or $700 for it.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
Your cable company can send a 1080p signal many miles. Your satellite company is sending it from the earth, to outer space, to your home. They both have specialized equipment & codecs to help them do this. Tell your client that if they have the will (and the cash) there’s no limit to how far they can send a signal.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
Further to Shane’s suggestion: make sure that the files you create in Compressor have excactly the same filenames as the original media files in your capture scratch. Render them all to a single location, so you don’t have to waste time pointing FCP to a bunch of different places. You can even make a default codec & destination in Compressor so all you have to do is import the files, change the names and press the ‘submit’ button. If I remember correctly, Compressor is supposed to pass through the timecode by default, so if you’re changing the frame rate on any of your media files you should be able to reconnect pretty easily.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
On the DSR-11, there’s a switch on the back that sets the deck to automatically rewind & replay tapes. That switch should be set to off (and maybe taped down?). Perhaps there’s a similar switch on the DSR-45?
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
That’s a feature. Layered PS files come in as sequences so that you can use the separate layers as individual elements.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[Shane Ross] “But still, I think it is a nifty idea. Reduce the size of the equipment you have to lug around. “
This is close to my idea. What I want is to be able to use scopes & monitor on location. Leave the actual capture to whatever tapeless system makes the most sense for your production, but be able to watch exposure, focus & vignetting on set from a laptop.
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You can use Carbon Copy Cloner for this kind of backup. You could probably use Super Duper or PSynch as well, but I’m not familiar with those apps. In the preferences, CCC has an option to synch the target to the source, copying only new or modified files from the source to the target.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
Well, Bob, I agree with you, but I also see some need for more modern I/O in the field, especially with some of the new tapeless workflows.
I spent Sept. & Oct. of last year on location in Moscow for a feature shot on the HVX-200. Input from P2 was directly into the PC card slot on a Powerbook, but at the time the only video out was SD via an Io. Now you could use a Matrox MXO to output HD to a video or computer monitor, which is a big improvement, but does output only. While on location, I was able to digitize analog tapes of archival footage with the Io. You wouldn’t be able to do this with the MXO.
Should you bring both? Do you have room for both in your shoulder bag? Along with your laptop, hard drives, cables, etc? Do you have an assistant with a really strong back? When you weigh all the needs & demands of a fast moving location shoot, well, you need to do more with less.
In a studio shoot, this wouldn’t be an issue. You could set yourself up with a fully tricked out desktop, lots of drives, monitors, etc, in any quiet corner. On a location shoot, where you may need to move to 2,3 maybe 4 different locations in a single day, well, you need to be more nimble.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
I have a 6′ or 7′ long butcher block trestle table from Ikea. I think it was around $200. I’ve got a flatbed scanner, a mixer, 2 19″ LCD monitors, a 14″ CRT, & a pair of speakers on that desk. Not to mention the keyboard, mouse & pencil cup.
And all the monitors are at or below eye level, so I don’t get a sore neck after an 11 hour day.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog