Bill Davis
Forum Replies Created
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Hi Jeannette.
First off, understand that so long as the transmitter and receiver are on the same frequency, the basic function of the system isn’t actually impacted by whether the frequency is “local” or not.
So the issue isn’t “will my gear work.” Given proper functioning gear – it will certainly work just fine anywhere the two units are near enough each other for the receiver to acquire the transmitters matching signal.
The issue in travel is whether or not the frequency band needed by your gear is already in use by other RF generating equipment.
With low power gear like wireless mic rigs, you’re not putting out a very big signal in the great scheme of things. So the chance that you’ll screw something up for someone else is typically very small. (Bets are off if you’re in a pack of 20 news camera operators ALL of whom are trying to use similar wireless sound devices, so if that’s on your agenda, this IS a big deal for you and keep researching to get a better chance for success!)
But as a single user in limited area n well away from other users, your chances for success will be very, very good.
If the recording situation is critical and you can’t fail, the best bet is to get a “frequency agile” pair of transmitter receivers so you can search for clean channels at your location. Another reasonable approach is to take one unit in the VHF band, and one in the UHF band, and therefore have a fallback if one of the frequencies is problematic.
It all comes down to how lucky you feel, but the risk actually isn’t all that big that you’ll have any problems in a temporary – limited area – low power wireless use situation.
Hope that helps.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Tony Sarafoski] “When you’re in the Share Menu, take a look at the direct email and direct posting options. I’m rapidly migrating my client review workflow to these rather than sending cut off files via FTP and/or Server services like YouSendIt – YMMV.
Ok you really got my attention with this. How does this all work? I’m forever exporting and uploading to my YouTube account for clients to review, but of this is a easier option, please do tell :-)))
“Under the Share Menu, you’ll find that YouTube and Vimeo are direct options. It just takes a few minute to store your account access codes here. The “built inside X” functions even let you append search keywords right in X. Then a click literally posts your X work directly to your main account at either service.
You still have to go directly to the service to manage portfolios, etc – but the basic upload happens directly from within X. Which means you can work on, revise, publish, and re-publish projects and revisions in a live and dynamic way – rather than getting everything “perfect” before exiting your NLE to upload your work.
Also understand that instead of baking and cutting off separate files in X to the desktop to manage your masters, just use X’s Share “Media Browser” function to store copies of your current edit in the Shariing folder that lives in the root folder where you have X keep your Project and Event files. This travels with your project and keeps a “live” copy of your current master no matter whether your root clips are on-line or offline.
This is the new orientation of X. Change thinking from “cutting off” a master file to “”publishing” a current master version, that can be easily amended by simply firing up you project inside X and tweaking it.
It’s a seemingly small difference, that has profound implications in a connected workflow.
For the past 20 years. a finished piece was something that was cut off and put on a shelf. Not so much anymore. Now, your “connected master” can live inside X, ready to be changed at will and re-published.
Finally, as alban noted, the Email option in the sharing menu is amazing for short projects you want someone to take a quick look at. It’s subject to email system limits on the size of attachments – so it’s only good for short work – but if it’s appropriate, it generates a complete email message directly from within X and attaches it to a highly compressed thumbnail size video (with some customization possible by the sender) all in a single “send” step.
Essentially, X shares like a sweet, friendly 3rd grader. Very naturally and without a lot of guile required.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Herb Sevush] “If cost is really the major factor than Lightworks will be the market champ, it’s free.”
That certainly worked for song sharing, and it’s really a shame the iTunes store couldn’t compete on price…oh wait, was “value” ever a factor here? I wonder…
[Herb Sevush] “[Chris Kenny] ” FCP X is from a different world than competing NLEs. But that world isn’t the consumer market. It’s the future. And it’s arriving fast.”
Oh please, spare me.”
Can’t fault that reasoning, Herb. I suppose because you forgot to include any. Chris pretty clearly outlined his foundation for thinking that X is a play for where the market is going. What’s your reasoning for defending that the market should keep pushing where it was going in the prior era?
As Tim compellingly outlined, that was an era of constantly bolting new features into old code to protect the functions that were useful to a minority of users – and that historical approach was prioritized ahead of providing better performance for more users, on more classes of machines, at a lower cost.
What’s the case for returning to the “10-20 year old NLE software development path” that he outlined?
I’d love to have somebody defend that so I can understand it.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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It will surprise nobody that I agree with Chris’s assessment.
Not just what he said, but the reasons he put forth for every opinion he offered.
Well done sir.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Tim Wilson] “Except that Blackmagic had the biggest booth in all of NAB this year, which was not the case last year. I assure you that the change was not by accident. :-)”
Tim,
I think it was easily the largest in South Hall, but I don’t think BMD was the biggest booth from what I saw.
But I suspect that Sony was significantly larger upstairs and the other end of that hall in terms of floorspace – which makes sense from a product division and longevity/deep pockets focus.
And Harris Broadcast in North Hall was about on part with Sony, maybe even bigger – and much more complex than any other booth I visited with at lest 3 “second story” lofts for writing contracts and private meetings with existing clients.
It think that venerable organization gets the nod for the largest “single vendor” presence at this years NAB.
FWIW.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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My experience was a bit different.
One used to have trouble even finding a place to stand and watch the Apple demos – and just their live demo area was usually far larger than Adobe’s entire booth this year. The Adobe booth for 2012 was only about a quarter the size of BlackMagic, a bit smaller than Autodesk, and smaller than AJA. Which I suppose reveals the relative profitability of hardware over software? Hard to say.
Were attendees well interested in Adobe? Heck yes. That was obvious. But it’s impossible to compare booth interest by crowd size because too many variables are in play.
Unlike AVID, Adobe’s position made them less of a “destination” visit. AVID was upstairs adjacent to Ericcson and Harmonic, Inc. Adobe was close to the big buzz at BlackMagic, where the setup was much more “Apple-esque” up to and including the “big wall” setup where the public face of the booth fronted for a pretty large “behind the scenes” layout. They were also directly across from both RED and Autodesk – making the area itself a core destination for most show goers.
My actual props for Booth Fu must go to the folks at GoPro. They were far “down hall” but by cleverly using a “sign up on our wall mounted iPads to get a $100 discount on a GoPro Hero 2- strategy – they virtually graranteed that there would be long lines snaking into their booth constantly. Well played! (The fact that they could have simply scanned badges in a 10th of a second like everyone else and got the same data likely didn’t escape them.) Smart folks!
NAB is such a monster sales game it’s truly a joy to watch all these pro players at work.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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“Except that the 52% is a guess based on a small sample.”
In modern polling, that’s not really a small sample at all.
A sample size like that in the hands of a quality polling orgainization should certainly yield dependable results.
Things with much bigger consequences like elections use the same methods to gather actionable intelligence and make plans.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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My gut says what most would.
There’s absolutely no defensible reason for any facility not to have it installed. The cost is trivial. (probably less than stocking the coffee service for the year) It represents what a dominant player in the NLE space has decided is the future of their pro editing trajectory. If they don’t use it as a primary app now, they can let their folks use it as and when it fits a gig while learning about the new interface and the alternative workflows it promotes.
Maybe some client will need them to go participate in a “set-side” edit where X on a laptop kicks butt for something not necessarily “suite centric.
The point is that it’s a great tool to have in any kit. Not the only tool. Not necessarily even the best tool for every circumstance. But a powerful, modern Video editing solution that fits well under certain circumstances.
In short, why wouldn’t any smart facility not want to have it available?
I own a big stereo. I own an IPod Nano. And I have an iPhone. They all play music really well.
I use the one that fits what I need to do. I don’t get caught thinking that the only “proper” way to listen to music is to light up the big family room amps. That was my thinking in my 20s. Not so much now.
FWIW.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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The Event Library doesn’t directly “export.”
But its reasonably trivial to do what you want.
Just open a new Project in the project library.
Open it and you can drag and drop as few or as many of your selected clips as you like into the project. Since the Magnetic Timeline assembles them automatically, no editing is required unless you were sloppy with your Trimming in the EB. Then the Share Menu lets you export them as standalone files.
You specify that you want Quicktime files, but X isn’t really built on Quicktime any more. It’s built around AV Foundation and Core Video – and ProRes and H-264 are it’s “default” video formats – both of which are more modern and more efficient codecs, IMO.
Most client requesting “quicktime” files often just want something to play on their laptop – and the H264 or ProRes options will work fine. If someone actually does need a formal quicktime wrapper – then you’ll have to export from the Share Menu to Compressor and use the QT encoder there – but do a test first. In my experience nearly anyone who thinks they need a QT file will nearly always be able to use an H264 encode without a traditional QT wrapper just as easily.
Also, when you’re in the Share Menu, take a look at the direct email and direct posting options. I’m rapidly migrating my client review workflow to these rather than sending cut off files via FTP and/or Server services like YouSendIt – YMMV.
Hope that helps.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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I largely agree with Bob above.
The key is to decide what you, individually want to become.
I know its fashionable to think we can all train ourselves to become a modern “do it all myself” kind of pro. But the reality is that while it’s more possible today to do that then in the past – it ignores the question of whether or not that’s the smartest plan.
Trying to be a jack of all trades, is usually connected with being the master of none – as the old saying goes.
Green Screen, interviews, features and pilots. That’s a massively wide target. Heck, “features” of an by itself is a hugely wide target. One scene that takes place in a spaceship corridor for a science fiction feature could easily eat up an entire 10,000 gear package and not get half the job done.
So I’d recommend you do something simple like buy a couple of broad four-bank fluorescents (Kino’s or less costly equivalents) a Tungsten Fresnel kit with a 650, a couple of 300’s and a 150 or two. Add a few LED units (maybe 2 1x1s and something smaller for a backlight) And maybe (if there’s enough left over) a focusable instrument like a small ellipsoidal or Dedo – and concentrate the next couple of years on learning to use all of that really well.
That kind of general kit should let you do a quality job with one or two talent on screen for most small room shoots, work in daylight or tungsten environs, add decent talent pop and scene highlights in larger rooms that are lit OK to begin with – and leave everything else for the rental house.
If you’re really talented and shoot a lot, you should run out of things to learn about that group of gear in practical terms in about 7 to 10 years. And when you need more, hire in HMI’s or bigger stuff shoot by shoot.
I know other guys here would opt for a Joker Bug or other HMI as a great addition, but they’re still so costly that it would cut into the other stuff, and we’re talking flexibility in lots of situations here.
In a couple of years, based at what I saw at NAB, the LEDs and the Fresnels will likely merge. And you’ll have the ability to apply what you’ve learned with both to the new units without braking the bank now.
That’s how I see it, anyway.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor