Brett Sherman
Forum Replies Created
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Someone quietly fixed this for CS3, probably Apple. It now works. I’m using OS X 10.5.8 and Quicktime 7.6.4. Now I don’t have to upgrade to CS4! Thank you Apple.
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Is it too much to ask to have Luminance and RGB curves available within Final Cut? That’s all I want. Please, Apple, take just that feature only out of Color and make it available as a Filter in FCP. I’m desperate for that since leaving (mostly) the Avid.
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When I first started using FCP, I thought it would be best to learn their layout. However, I eventually gave up and made a custom layout that was similar to Avid. The problem I have is that I use maybe 5 different timeline-style programs. Learning each’s custom layout is impossible since I’ll forget which one is which. So I have to customize it to one standard way of doing something. I also felt that FCP’s keyboard doesn’t have what I want on it, maybe I just have Avid’s way of editing ingrained. I’m currently looking for blank keyboard stickers so I can customize it.
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I had the same problem and just started deleting objects one by one until I could get it to import. What worked was deleting all the lights. It could have been a specific light, but I didn’t bother to check it out since I didn’t need the lights in the AE project
You could put dummy objects where the lights are, delete the lights then recreate the lights in After Effects using the coordinates of the dummy objects.
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Panasonic has really done a good job at getting misinformation out there. “HDV is bad” etc. The fact that anyone is even thinking that the HVX-100 compares to the F330 shows the effectiveness of the Panasonic marketing and slavish loyalty of DVX-100 owners (I’m one too). I love my DVX-100, but won’t be getting an HVX-100 because the workflow seems impossible and EXPENSIVE.
XDCAM uses intraframe compression, so it’s a more efficient compression scheme than the DVCProHD. While XDCAM is similar in bit-rate to HDV, it has a variable bit-rate which makes it a lot more efficient. Reviews state that they’ve tried everything they can to get the XDCAM codec to break up, but they can’t. And Sony has actually come out with an exceptional workflow with the optical discs.
Let’s talk cost, since P2 is not a final archiving storage, you’ll need to store on hard disks. That means you’ll need two sets of hard disks (one for backup). With the Sony system the optical disc is the backup. Additionally, with DVCProHD you’ll need 3X the amount of disc space and more expensive RAID systems. So minimally, your hard drives will cost 6X more with DVCProHD. So if in your mini-DV workflow you spend $3000 a year in hard disks, you will have made up the price difference between the F-330 and the HVX-100 in one year! It might take 3 years at the most to make up the price difference.
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> Just make sure you are in “Overwrite” mode and paste away (It’s the red arrow)
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> I agree with you on Adrenaline. I think it’s the worst mistake Avid has made. However, I currently use Mojo for 1:1 and DV50 and it works perfectly. Hopefully Apple will be able to mix formats on a timeline, it seems like a huge workflow issue. I commonly digitize 20 hours or more of material to work with. If I have to render that to DV50 that’s a huge issue.