Dan Riley
Forum Replies Created
-
And if you’ve got one of them new fancy Mac Pros with all those available
slots for extra hard disks with the easy mounting trays, I’d go that direction
before doing anything with firewire except backup. Add two or three SATAII
drives in those slots, and you’ve got yourself a nice RAID 0 too.Dan
-
Could be this:
If your timeline is rendered, you won’t be able to see angles when playing back.
Do you have a blue line on top of your sequence?
If so, just push the green button on the left side of V1 to remove renders.Dan
-
I believe it works like this;
If your display is a computer monitor
then you have a choice to make as far as display goes.
If you are using FCP there is a checkbox in the viewer and canvas
for square pixels so it’s displayed correctly assuming it’s DV or
601 video. There isn’t a checkbox in the quicktime player per say,
but like you said, you can change the display.If you play that same DV quicktime out to an NTSC monitor, like I can do with
Aurora Pipe Studio and I believe AJA cards too, it will be displayed with
square pixels. And if you exported that DV quicktime to a 640 by 480 size,
it would display correctly on the computer screen and the TV.Dan
-
What do you need a mixer for?
As a mic preamp? For monitor level control?
If so, a Mackie is fine. The 1202 or the 1402.Remember, you aren’t mixing on the mixer anymore.
That’s done in FCP, Soundtrack Pro, Pro Tools, Peak or whatever.
The only time I ever touch my mixer anymore is for
monitor level control, or for feeding a mic into FCP.
The Mackies are fine for this.Dan
-
If you can swing it, look seriously at the 24 inch iMac.
Not only the larger screen which is full HD, but also 800 firewire port.
This faster drive hookup is great for DV or HDV editing or just for
backup.Dan
-
I’m confused.
You want the effects tab in a separate window….easy…I have it on my second
monitor all the time. Under the window menu you select effects, then move
the window to wherever you want it. Then under windows menu to to arrange
and save the window layout. Now it will stay wherever you want it.You want the filters tab in a separate window….no, this does not work.
Filters correspond to specific clips. It can’t be up all the time.Which is it?
Dan -
Go ahead and render now, just to see if your current timeline plays correctly.
Highlight a few minutes worth and do a ‘render all’ so you end up with the
blue line on top of the timeline. Remember, once you render you can’t
see the three cameras playing back together in a multiclip. So after you
do this test, just clear the render by checking and unchecking the green button
on the video track. Then you can see the multiclips in real time again.dr
-
Yeah, what do you mean by “I had to re-sync the clips on a camera pick-up ” ?
Re-sync what? …where?I’ve edited many 4 camera shows with FCP’s multicam and it works well.
Some would say even better than AVID, especially in how easy it is to make
the multiclips, (groups in AVID speak). My only beef is you can’t match frame
to the source clip from a multiclip timeline. Hopefully this will be fixed.I do all my multicam roughcuts at DV. This works well with my SATA RAID.
Then I uprez to uncompressed and have had no trouble, except for
still frames, but I digress.What codec are you using?
Dan
-
You can still use multiclip. You just pick some other thing to sync to
than timecode, like the beginning of a word in the take. That’s what I did
and it was fine, but a bit tedious because you have to go to each take
for each camera and mark in times, then (as I did) back up two seconds
and hit “in”. (so I had some front end on each take)
Not nearly as easy as using timecode to make multiclips
but still doable.Dan
-
I’ve been doing a project that used two SDX900s at DVCPRO50
and the crew did the same thing in the field as your shoot,
they jam-synced the two. This is always trouble.
Tell your crews never to do this. Use a generator and
feed both cameras from it. Do this, or use visual or aural cues.
Anyway, I had many timecode problems from the slaved camera
timecode.The other thing is, if it was the Panny 900 camera,
there are many record settings for frame rate etc.,
and it may be that your camera two wasn’t set the same as
camera one. This might account for the audio and timecode
errors. Just a thought.How are you capturing? through an SDI connection or firewire?
Dan