Bob Flood
Forum Replies Created
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thanks again
(i was logged in as someone else)
bee eph
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JG
I always thought it was canvi no?
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
jason
replace the tube and keep the crt. the tube is the most expensive component in a crt monitor, so if anything ele dies its gonna be cheaper (actaully i am surprised at 700, i would think it would be more like 1,000 to 1500)
crt monitors are more accurate than flat screens for color and detail I still have my 2 sony 19 PVM’s and would not trade them for the world.
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
BP
We are an independent marketing and production company doing work for many midwestern based corprorations
we have found that even though HD has not really become the ipso facto out here (tv stations are broadcasting HD, but its just the network feed, local stuff is still SD) 16×9 has, so even when we are shooting for SD release, like dvd or web, we use HDV to aquire, and we rent P2 for special effects, like ultimatte or motion tricks.
HDV is great to shoot in, but we edit either dvcpro50 16×9 or dvcprohd, we master on BetaSP or D1, and we archive on harddrives or 4.8 dvd. having hdv camera originals helps future proof a lot of assets for our clients
I would love to either upgrade my HDV deck (curently an M10U), or go to solid state aquisition.
I swear its like the early days of the interstate highway. your cruising along at 70 mph at least (shooting) then you have to detour into some hick town at 30 mph and traffic lights galore (capturing from tape) then you get back on the highway (editing).FWIW lets keep tape for archiving, but gimme solid state or harddrives for shooting.
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
paula
the neatest thing about fcp is how many more ways you can bone yourself by digitizing with the wrong settings (been there, done that, got the t shirts, sold em on ebay) 🙂
dv res ie dv25 is roughly a 7 to 1 compression ratio, whereas dv50 is 3.5 to 1, which is closer to digibeta
all issues with compositing aside, if it looks good to you on an ntsc monitor, and you can mix the clips in a timeline without a lot of dropped frames, then keep it the way it is.
if you cant mix em on a timeline, then you will have to recapture or recompress through media manager, although my experiences with that have not been good (the recompress looks like crap), so i would favor recaptureing
if you can mix em, but can see a difference between the material, or are doing a lot of layering etc, then wait until you have a “locked” edit that everyone has signed off on, and redigitize just the shots in the timeline.
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
sean
are you digitizing to the Apple Intermediate codec? this codec will let you work faster with HDV material you capture via firewire, but you lose the original time code and reel information.
in essence it makes each capture a quicktime with no metadata.
it has become obsolete with the release of pro res
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Hi
I know compresser has some pixel interpretation settings that fcp does not, so i would say yes there is an advantage of compressor over fcp
I think ken stone or larry jordan has a write up on using compressor to blow up stuff
we all know that blowing stuff up wont make it sharper, but compressor will make it look pretty good.
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
hamster
it seems that everyone has a workaround for this glaring idiosyncrasie (maybe it was a feature suggested by marketing?)
my workaround is to use fit to fill. it doesnt change the speed of the original clip, which happens when you match to source, and it doesnt ripple all your clips.
and you can do it by eye or by the numbers.
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
hi
use to use moving picture a lot on discreet edit, and it was great!
the developer has been arounf for a long time and knows a lot obout video (he developed the EMC NLE system)now i just do my moves in FCP
BUT here is some tips as to how to work with moving picture
its a good idea to do all your moves in a seperate timeline, than export them as a native movie.
I would bring in the stills at whatever reolution, then use them as references for the real moves.
drop the plug in on each still in a timeline, then through the plugin load the picture so that moving picture works with the still directly. Make sure your stills are on your computer someplace, like a specific folder in your capture scratch folder. If you are working off a cd of stills, copy them to your capture scratch folder first, otherwise you have to reconnect the stills in moving picture, one at a time.
once you have a move set up, render out the move to a selfcontained QT file, import it back into your project, and cut it in your timeline Dont forget to add enough extra “Handle” at the end for transitions ie dissolves.
if you know your a re going to have to go back and re edit the moves, do not change the location of the stills, as this will only serve to confuse Moving Picture
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
sweet
however, the only thing lacking (as is usually the case with avid) is personalitys
most creative types always welcome a fresh eye and viewpoint. part of the process is that when you go to “online” you have an individual who has an eye for not only color and sound, but flow and pacing and content. Many is the time that when the rough cut got to me it was still really rough, and needed a lot of air added here and taken away there as well as all the other stuff.
I think this is the biggest reason for this 2 stage process, and usually the one you hear the least about.
my 2.12 cents
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc.