[David Bogie]

You seem to be asking about the best way to do it your way and that would be to have more than one brain.
Do you have previous multiple camera experience such as calling for live switching? It gets very simple if the crew was prepared and the director was in tune.
I directed multiple camera sports events, each camera operator had a job and the replay operators had theirs. We trusted each other, it was a blast.

I’d approach this in a way that delivers your preliminary editorial decisions into the 4×4 multiclip display. Open each clip separately, place a black layer — or a keyframe to go to black — over ever bit of useless footage. Make broad, sweeping decisions to eliminate everything you do not want to use yet. You will be revisiting every reel later to pull for color, cutaways and effects; that will all be done in the fine cut.

I would also add a text item or some other color-coded signal to indicate the very best stuff, your favorite shots, shots you absolutely want to include. Again, you must make broad calls. Don’t concentrate on the little stuff or you’ll never get anywhere.

You will end up with a 4×4 display that has a lot of black holes and colored dots. The dots indicate your limited choices for any given instant. The black holes are easily ignored. This is an easy way to make your first several versions of the big cuts by using duplicates of the 4×4.

Export your several versions of this multiclip as single movies and then start making your more interesting artistic and stylistic decisions. But you have to start with the big picture.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

[Bret Williams] “Probably. But I did it this summer. Almost exact same specs. Dual 1Ghz MDD G4. 1.75 gig RAM. OS 10.3.9. Still can’t find a reason to spend money on Tiger.”

I posted a contrary view over on apple.com where this exact same question appears. I assumed the MDD specs were a bit underpowered for HDV features. I could be wrong.

If it works, please come back to all of the places you have posted this same question and tell everyone how it went for you.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Having Qmaster is part of the of the equation. What app are you trying to use it with?

I hate to say it, but the Qmaster manual is about as clear as it gets. You will find an additional manual that explains Qmaster for the particular app you are using. it largely the same text but has some specific instructions.

bgoeisan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Most LiveType fonts can be colorized but it’s not intuitive and Apple put the control in a stoopid place. Under Attributes (sorry that’s in LT, I’m not at my Motion machine at the moment), you will see a blue chip called HUE. Drag the amount slider to 100% and the blue chip will be applied. Click on the chip to get the Color Picker/

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Blurring will make it less distinct, sure. But you want it cleared up, right? That’s a sharpening procedure.

Cleaning up really bad footage is a craft. The term is enhancement and there are third party filters that will do a pretty good job of it. Not like the results those crime lab boys and girls get in the “CSI Boise” tv show, but fairly good. Usually takes several copies of the same footage, each with a different type of filter applied to it. Stack them up and apply composite modes till you figure out the combination of layers that gives you a decent result.
You want to sharpen most of the scene but then you want to remove the noise. So you boost the noise to a point where you can key out or transfer-mode out only those pixels to reveal the sharpened layer beneath. The sharpened layer probably needs a slight blur applied to it after it’s been sharpened or you will just put all the noise back in.

It’s time consuming and frustrating and ultimately totally unsatisfactory.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

[BeeLaster] “Web Streaming Option that does not function correctly on the Web?”

This is most likely a problem with your STREAMING SERVER. If you don’t have one of those, what you want to do is just mount the best quality Quicktime or MPEG1 you can. You’re not really streaming it, your visitors are just downloading it and playing it. Maybe it starts laying before it’s completely downloaded but that’s “hinted for fast start,” not streaming.

Try visiting the compressor forum on apple.com and searching there for a few hours. This stuff is rally quite difficult the first few hundred projects. There are huge books on Internet media creation and management and, to make things worse, it’s changing all the time.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Here’s what got posted over at the apple.com FCP forum>
I want to consolidate my footage and project (a 3 minute music video) to a DVD to give to another editor for fine tuning. Adding “handles” in the media manager window would give the editor room to trim cuts while still giving him only the footage i want to give, right?
Does the new project/media end up in one consolidated folder? Then if I move this folder around, say from my desktop to a DVD for bunring and then from the DVD to another editor’s desktop or scratch drive then will FCP look to “reconnect” the clips in the timeline to the media since they have moved to new locations? I should hope not. Afterall, i wouldn’t move anything around within the project/media folder, only the folder itself from one computer to another. PLEASE LET ME KNOW. I want to avoid the “reconnect” process.
thanks
< Oh, wait, it's the same question. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

> Meanwhile, both boards (Adaptec & Atto) and the drive work flawlessly when installed in my G4 (10.3.9) I know the issue
is with the G5, but I don’t know where to look (and neither does support at Atto or Medea)
< Yar, sorry, but that's your only choice at the moment. You performed a binary test and the only thing left that could possibly be at fault is the G5. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Hey, thanks for this information, Rowan, good piece of detective work!

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Not really.
The tool in use is Qmaster for Compressor and Shake and DVDSP4. It’s failry easy to setup but not so easy to manage or run until you’ve screwed it up a hundred times. You can only use it with machines that have FCP Studio installed or some of the components. If you want to render farm with Compressor2, each machine in the farm must have a valid licensed copy of Cmpresoor2.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”