Bret Williams
Forum Replies Created
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A dual G4 1ghz is about the same as a 1.5ghz G4. A single 1ghz G5 would probably compete with that, but you’re talking 2ghz G5. I’d say it’s probably twice as fast. it also has a faster bus, sata drives, faster ram, etc. The quicksilver isn’t even the fastest dual 1ghz g4. The next version with mirrored drive door has a faster ram bus.
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Make sure you create chapter markers if you need them for DVD. Or you’ll have another headache.
Sounds like you had a clip selected when you made your markers. Clip markers (what you don’t want) don’t appear in the canvas. You want sequence markers. Make sure you don’t have anything selected when you create a marker. If you happened to have the clip open or ganged in the viewer, and you create clip markers, then yeah, you’d see them in the viewer.
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I hope you’re not using either 8 or 10 bit uncompressed with a fw400 drive. FW800 maybe, but doesn’t the firewire bus scale back to 400 if you have anything fw400 plugged in? So you might be trying to do uncompressed on drives that are negligible for DV. The FW400 really is fine for DV, but internal ATAs are so much faster.
Like they said, you’ll need external raid or external SATA raid to do uncompressed.
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What file format is the audio. Wav or Aiff?
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The best trick is fit to fill. Kind of the standard thing across most editing systems. Does Premiere call it something else?
Easiest thing to do is to mark the in and out on the timeline, then drag the clip from the bin or viewer to the canvas and choose fit to fill. It’ll adjust the speed to fit the space.
If your clip is already in the timeline, put the playhead over it and press f to match it back into the viewer. Then mark in and out and drag from the viewer to canvas like above.
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The name is greyed out because it’s the cumulative name of the checked boxes below it. Description, shot, take, scene, etc. I know. It’s stupid and anything but user friendly. Just uncheck the other boxes and type the name in the description field like everyone else.
If you’re using capture now, make sure you name the shot before you hit capture now or it will be named untitled 1, 2, 3, etc. on the drive. Changing the name in the bin doesn’t change it on the disk. And trust me, you want different names for every clip when you decide to batch recapture a project.
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I think you’ll see GoLive go by the wayside and Adobe Dreamweaver be the new product. GoLive customers will probably get a very competitive upgrade price, and there will be some sort of conversion tool to import GoLive sites and their templates. The best features of GoLive will be taken over to Dreamweaver, like smart objects and um, smart objects. Since fireworks will probably disappear in favor of imageready, they’ll probably port over the good stuff from Fireworks like pulldown menus and behaviors.
As far as other products, there really isn’t anything else that compares to the GoLive or Dreamweaver. There’s frontpage, but it’s not really very good.
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I’d agree that the resolution would require massive amounts of storage, but I don’t see why the dynamic range would. Film to video looks better than video because film is able to capture that larger latitude. Then we compress it to the range of video. So it seems that if CCDs could capture that exposure latitude then it could still be compressed into the video range of 0-100 ire and look fantasic.
I’ve seen demos of HD cameras that show how they can capture candlelight just as good as film, but that doesn’t prove much except that they’re very sensitive to low light. I’ve yet to see one say it can capture the candlight and the spotlight and everything inbetween like film.
I’ve seen some good tricks though on locked off shots. Like exposing for the sky, then exposing for the shadows, and then combining the two images in post with a soft edge wipe or a matte.
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It’s possible that the extra latitude of film resides more so on the highlights side of exposure. If you’ve ever learned to shoot a 35 mm camera you’ll understand latitude. Different film has different attributes. Generally, negative film has about a 5 fstop latitude. So if you expose for standard grey or fleshtones, then you’ll have 2+ fstops above and below that also get captured. So, if exposed correctly, you can have detail in the shadows and the sky. It all depends on the actual situation. If you want to capture the most of a scene possible, I suppose you could read the light in the shadows, and the sky and split the difference, but that may leave what you really want, say someone’s face, under or over. That’s where lighting comes in. If you overexpose or under expose, you can have all the detail above or below your exposure, and fix it in post. Over expose someone’s face by 2 fstops on film and you still have the detail of the face. When printing you can bring that brightness down, with the benefit that you also captured 5 fstops below in the shadows without any lighting. Do the same with video and you’ll probably overexpose the face too far, losing detail making the person pasty, and only gaining 2 fstops in the shadows, etc.
I took a quick little couple hour course at infocomm one year. They let us run the 16mm cams and shoot a couple scenes without any additional lighting. At the time we also had a little cannon digital camera, which is kinda like video. On the digital camera there weren’t any shadows or highlights detail. Just the main focus of the scene we exposed for. But we also shot film of the scene and they mailed us a dvd. The sky and the shadows were intact. And there wasn’t any manipulation. This was just raw film footage.
If you’ve ever shot super8 film too, you know what I mean. Horrible resolution as far as grain goes, but the color and the latitude is essentially the same as 35 or 70mm film. The difference with the old super8 is that it’s usually positive (slide) film. So there isn’t an inbetween workprint or any post adjustment. They develop it and you project it. If you exposed incorrectly you still have the latitude, but you’re stuck with what you shot.
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Still no need to export if you don’t want. Just copy the file from the capture scratch to your PC.
They have those plugins for FCP too I think. I’ve been able to get good results for simple talking heads with the built in chroma keyers in FCP. You could key it there and export an alpha channel QT too.