Arnie Schlissel
Forum Replies Created
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Your web host does not usually have that much to do with the quality of the video that your end user sees. The quality is determined by the compressionist, and unless you’re hosting on a site like youtube, that’s not a service provided by the host.
First you need to decide whether you want your videos to stream or download. Streaming (like youtube or vimeo) is more expensive than downloading, but your video does not stay on the end user’s hard drive like it does with downloading.
Then you need to find a compressionist who can make the best looking video for the bandwidth available. The less bandwidth, the longer it takes to download a video, the smaller the file you’ll need to create, the less quality you’ll be able to deliver.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Krzysztof Kalukin] “That monitor does not have HDMI input, but we used HDMI<>DVI adaptor. Any ideas what’s behind that problem?”
Probably your HDMI to DVI adaptor. What kind of monitor is this? What other connectors does it have?
[Krzysztof Kalukin] “I’ve connected full HD LCD display to HDMI output of Kona 3 LHi.”
Is it a Kona 3, or is it a Kona LHi? These are 2 different cards.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
NYU has 2 film schools. One is in the Tisch school of the arts. The other is in their adult ed program, SCPS. You can get a certificate at SCPS, or just take the classes that you want without any specific curriculum.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Doug Collins] “2. The equipment you have doesn’t matter as much as your talent in telling the story.”
This is “factually” true, but , sadly, for marketing reasons, the gear often trumps the skill.
A client wants to know that you have the big sexy thing that they read about in Millimeter or DV. They don’t necessarily understand the experience & skill that goes into using it is much more important than the gear. They only know that they keep reading and hearing about used that big sexy thing.
And so they will go to the shop that uses that big sexy thing. It doesn’t occur to them to ask about the operator. And later on they may find out that having an intern use the big sexy thing was less advantageous than having the 20 year veteran use something less sexy (and smaller), but do a great job because he or she had talent, skill experience and guile (guile is very important in post production).
Or they may not really find out, because they will have spent all of their money at the shop with the teenage operator and the big sexy thing, and they don’t have any money left for hiring talent, skill, experience and guile.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
q[Jane Greenberg] “It would save me a bunch of time to be able to scrub through material digitally and make subclips instead of logging from a deck.”
I don’t see how this will save you time. I can see how it can cost you more time, but I don’t see any savings at all.
If you log the tape before hand, it’s then captured in the small segments that you log, and you may skip over large portions of a particular tape, saving both the time & disk space needed to capture it.
Also, you have all of the benefits of small media files. They match frame better. They scrub more easily. They behave better and more predictably in general. And they stop and start where you wanted them to in the first place!
If you capture everything & log it later, you will have larger media files. You will have captured a lot of material that you will never need to see a second (really, even the first) time, devoting both capture time and disk space to it. Your media files will be awkwardly large, making it harder to find the right material by scrubbing through them.
If you capture in arbitrary 10 minute chunks, they will start an end in arbitrary places- in the middle of interviews, scenic pans, all the most annoying but never the best places. If you subclip them, you will have issues with media management or Color later on.
And if you then decide to use the media manager to reclaim your lost drive space, it’s an extra step, using up more of your precious time.
Log first. Sweat less.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
What your client wants to do is called “tape to tape”. It’s often done in the same room by the same operator as the telecine- this depends on the shop that you use- you can also get it done in a place that doesn’t even have the telecine. A telecine is the machine that digitizes film to video, HD, 2k or even 4k for any post production use.
Your client is probably looking for a session in daVinci, Pogle, or similar suite. In the right hands, this is a wonderful thing. An experienced colorist on their favorite system can really work magic- but it will cost your client anywhere from $350-$700 per hour in the room. If your client already has worked with this specific colorist, it may be worth it to him.
It’s best to use a shop with a really good client services staff & nice lunch, because you’re paying enough that you might as well get yourself pampered in the process.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Akbar Ukani] “BTW…as far as faster drives, the only option I can think of is to have a hardware raid controller on my mac….”
Either an Areca 1600 series card, or an Atto R380 series card. Both are SAS controllers with hardware RAID right on the card. They will outperform most other host cards for direct attached storage.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Ben Holmes] “Personally I was hoping Apple would grow a pair and roll all these disparate and random GUI apps into one super integrated single app that just swapped layout when you wanted to do CC, or Motion graphics.”
Word!
If there’s anyplace that Adobe really excels, it’s in integrating it’s product line together. They’ve put a ton of effort into getting all the apps to have a similar appearance & similar keystrokes, with the Bridge to tie up the loose ends. Apple & Avid could stand to learn a few things from them.
Not that Apple’s “send to” workflow is bad, but they could really work on unifying the GUI. I mean, the file dialogs in Color make Shake look user friendly!
And while they’re at it, FX Plug in every app! And free coffee!!!
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
FCP does not send filters to Motion. At all. Ever.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Akbar Ukani] “I went with the MXO2 and I constantly kept getting dropped frames with native 720p60 footage during playback on my Plasma HDTV”
Dropped frames have absolutely nothing, nada, zilch, to do with your capture card. Dropped frames are completely, 100% the result of your drives not being able to play the material back fast enough. Get a decent drive system and you will not have dropped frames.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/