Chris Babbitt
Forum Replies Created
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Hey Jerry,
Would you mind sharing with us your proceedure for doing this?
I’m thinking that it’s about time I did this myself, but I’m a bit paranoid about it. If I had step-by-step instructions from an old hand like yourself, it would give me the security that I need. -
You need to go on the Board of Equalization’s website and look up Regulation 1529 (I think I got that right). Corporate and Industrial productions fall under the “Motion Picture Production” category. The differentiation in California is with programs produced for private consumer use such as wedding videos, school plays and the like, in which the entire production is taxable. In the “Motion Picture” category, the cost of production is not taxable, but release prints (DVD copies) are. The producer is considered the consumer of materials used in production and is responsible for the sales tax on these consumables.
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I would suggest that you take the mixer feed, but add an ambient room mike on a second channel, not only to pick up the audience, but also to pick up instruments that will not be as pronounced in the mix, since the band will be probably giving you a sound-reinforcement mix, which is mixed for the room, rather than a recording mix. A sound reinforcement mix, for instance, will usually have very little drums, because the drums project into the room well enough on their own without a lot of help from the sound system, so you need a mike near the stage to make up for that.
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I was referring to pocket drives (2.5″?) But, I didn’t know that there was such a thing as a bus-powered 3.5″ enclosure.
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Both fw ports are on the same bus, but that will not be an issue unless you have a deck hooked up at the same time as your fw drive. While it would be nice to have a fw800 drive, there is no real benefit over fw400 for editing dv material. The most important consideration for you is portability & capacity. A 7200 rpm drive is best, but for a bus powered drive, you are limited to 60-gig capacity. I think the largest capacity in a pocket drive is 80-gig, but these are slower, and may drop frames on final playback. Like I said before, I can hook up my Hitachi Travelstar drive to my G5, after editing on the Powerbook, and play back a 90 minute program without a single dropped frame. If you can get by with 60 gigs, this would be your best bet. G-Tech makes a model which utilizes this drive, and the enclosure has built-in heat sinks, which is good, because these drives get very warm.
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Bill,
If you are capturing and finishing on the G5, I see no need for the PCI card or even a fw800 drive for editing DV. I do a lot of editing on my Powerbook using a 60-gig Hitachi Travelstar 7200 rpm pocket drive in an enclosure I bought from FWdepot.com. It is small, fits in my computer bag, and is bus powered, so I can edit anywhere. I plug it into my G5 for finishing, and it plays the project flawlessly. As long as you don’t need a huge amout of storage, this set-up should suit you perfectly.
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Select the clip in your viewer that has the audio before you drop the multiclip to the timeline. If you need audio from more than one camera, you need to bring those down to the timeline one at a time.
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Have you tried it? I have, and it works just fine. I do have separate folders for project files from different versions.
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I am running both FCP5 and FCP3 on Tiger on the same system drive. Why would it be any different running 4 and 5 together?
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I think you might be confusing compressing with building or muxing which is done in DVDSP, not Compressor.