Bret Williams
Forum Replies Created
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Yeah, Steve said that yesterday. Cmd .
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Thing is I don’t want to rename the clip. But FCP insists on me deciding what the name on the drive is. Who cares. FCP should just have a checkbox or something to allow FCP to rename clips.
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I guess I do read a lot about Looping a camera through the drive on a powerbook with only 1 FW port. That doesn’t seem to work well, and I’m sure the same holds for a deck. But putting them on separate ports is no problem. And the sharing of the bus is generally about the FW 800 bus getting bumped to FW400 speed when you hook up a fw 400 device.
FWIW I’ve looped cameras and decks through drives without trouble, but I never was doing long captures or printing to tape.
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Basic to those that know it, but FCP was around a couple of years before that trick really got around. Is it in the manual? It’s anything but obvious.
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Bizarre advice. You don’t want to deinterlace if you don’t have to. Only do it if you see something you don’t like. Photoshop is definitely the tool of choice, because you can deinterlace only the areas of the image neccessary. Any deinterlacing is going to either lessen the resolution or sharpness. Unless an image has a good bit of motion in it, it should be fine. Generally, try to pause on a frame that doesn’t have any flicker in ntsc and that’s going to be the best for export. If you don’t see any flicker in interlaced playback, then an export will be great.
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One you’ve created one keyframe, any adjustment made will create a new keyframe or adjust the current one. No need to click the keyframe button again unless you’re making a keyframe with no changes.
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Who said that? I think you must’ve misunderstood. There is no problem outputting to the DSR-20 with your files on an externl FW drive. 800, 400, whatever. Same bus or different. You’re barely even tapping into the bandwidth of FW400. It’s a digitial transfer. Either it drops frames or it doesn’t. There won’t be any quality loss.
If you put a FW400 device in the FW800 chain it will dumb down the bus to FW400, but that’s not a problem for DV. You should be fine. Are you having a problem?
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Or are you just talkng about editors? I thoght he had switched the topic to directing gig… Still, the rates sound about the same here, with the low low end college grad getting $25-35/hr and the best naming their price, but I couldn’t imagine more than $100/hr.
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1200 per week sounds more like a freelance PA in Atlanta. 4000 per week would be a real good videographer or producer. Is that all LA gets for a director? I’ll stay here.
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Nesting will do the same thing. Nest it then render it and it works like an individual clip. The same function exists on the Avid and is also called nesting. Never understood why anyone would do a video mixdown after they introduced nesting in 1996.