Forum Replies Created

Page 18 of 36
  • Ben Edwards

    January 16, 2012 at 10:18 pm in reply to: FCPx in local TV

    Andy,

    Thanks a lot for that. Archiving is defiantly a bit issue and the workflow/technologies needs to cater for this, and I guess in some ways the size of the station is not relevant. I guess being ably to quickly find cutaways is the key thing here.

    Lots to think about,
    Ben


    Ben Edwards – Freelance Filmmaker
    https://www.funkytwig.com

  • Ben Edwards

    January 16, 2012 at 10:11 pm in reply to: FCPx in local TV

    “I’ve ingested AVCHD and haven’t bothered to transcode. You don’t have to transcode to ProRes. Not even in the background . . . assuming a reasonably fast system.”

    OK, I thought FCPx did this automatically.


    Ben Edwards – Freelance Filmmaker
    https://www.funkytwig.com

  • Ben Edwards

    January 16, 2012 at 7:58 pm in reply to: FCPx in local TV

    Are you saying with AVCHD everything is not transcoded into ProRes. Apples’s ProRes fetish is my main issue. If I understand correctly the ProRess ingesting has to be finished before the final project is output.


    Ben Edwards – Freelance Filmmaker
    https://www.funkytwig.com

  • Ben Edwards

    January 16, 2012 at 7:56 pm in reply to: FCPx in local TV

    The deliverable will be onto Freeview (DVB-T) which I believe is MPEG-4. I believe the idea is to used dedicated transcoding hardware. As this is a startup, and if FCPx is the chosen option, the other components will be built around this.

    Ben


    Ben Edwards – Freelance Filmmaker
    https://www.funkytwig.com

  • Ben Edwards

    January 16, 2012 at 3:42 pm in reply to: FCPx in local TV

    We are talking a new station so a format that works with FCPx would be chosen. I was quite surprised when I heard FCPx was being considered hence the question here.

    Ben


    Ben Edwards – Freelance Filmmaker
    https://www.funkytwig.com

  • Ben Edwards

    January 15, 2012 at 4:51 pm in reply to: Subtiteling Rushes

    Looks nice but undo seems erratic and the short-cuts don’t work when typing in text. Subbit may not be quite as slick but seems easier to get it working properly.

    Real shame, it did look good.

    Ben


    Ben Edwards – Freelance Filmmaker
    https://www.funkytwig.com

  • Ben Edwards

    January 14, 2012 at 11:13 pm in reply to: MC 6 Apple Color workflow

    We are shooting on a Panasonic HF101.

    I am getting in contact with colorist, as they are a student they may wish to look at resolve.

    Regards,
    Ben


    Ben Edwards – Freelance Filmmaker
    https://www.funkytwig.com

  • Ben Edwards

    January 14, 2012 at 7:47 pm in reply to: MC 6 Apple Color workflow

    Thanks, how does resolve lite compare to color? It looks excellent but I cant find any comparative reviews.

    Also are you saying one of the free plug-in allows Avid projects to be imported into Apple Colour?

    Regards,
    Ben


    Ben Edwards – Freelance Filmmaker
    https://www.funkytwig.com

  • Ben Edwards

    December 17, 2011 at 6:16 pm in reply to: Anyone tried running Vegas on Mac Hardware?

    I am afraid there may not be such a format. Avid, FCP, Premier can (up to a point) do this type of thing but I don’t think Vegas can. I think if you outline your reasons for using both you may get a more useful answer.

    Ben


    Ben Edwards – Freelance Filmmaker
    https://www.funkytwig.com

  • Ben Edwards

    December 3, 2011 at 5:35 pm in reply to: 3 point lighting – offside and onside key

    [Mark Suszko] “Anyway, we have a black limbo curtain accented by three very old, retired Strand Century fresnels that had rotten/corroded guts inside. I turned those into prop lights, re-wiring them with 40-watt incadescent party bulbs aand gels, and these hang low into the shot using home-made, bent-EMT-conduit shepherd’s crooks from the lighting grid as a point of interest in the background, between the interview chairs. The hooks let me instantly hang, move, or remove the lights when the set is struck. The fresnels now put out just enough to throw a faint colored accent tint on the host and talent’s shoulders, while I actually light them with conventional 3-point technique, using Videssence flos and whatever other instruments I can scrounge up.”

    Like it, the other day I was doing some sound tests with DSLR to see how well the Beatchtek and Jucedlink pre-amps work when recording audio straight to the camera. I was also playing with a 250w florescent photo-flood (E40, a bit of a monster). The main light in the kitchen is a domestic florescent balanced to roughly tungsten. I was shooting a sound mixer mate of mine. The result was that the practicable cast a lovely warm light on his face and the background was neutral. This reminded me that years ago we shot some interviews in a sports hall using natural light and a readhead with a CTO filter and a bounce card to warm up the face. This looked nice but possibly a bit too orange. Was wondering if you lot do simelar stuff to warm up contributors. I guess maybe a 1/4 or 1/4 CTO would do the trick.

    Ben


    Ben Edwards – Freelance Filmmaker
    https://www.funkytwig.com

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