David Bogie
Forum Replies Created
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On my pre-mirror G4 dualies, we had to purchase ATA cards to add drives. There is a limitation, can’t recall where, that prevents either more than 2 drives on the internal or more than 200 gigs. One or the other. We needed the second PCI card to hook up the additional drives.
Be sure you have the patience (and extra cable) to route the ribbons so they don’t get squished or crimped and evaluate your power supply and cooling capacity. It’s easy to overload them by pulling too much juice to various systems like FW cards, big graphics cards and drives. If you back your Mac up against a wall you can restrict the circulation.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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Update from Tiger.0 to Tiger.1 is complete.
Everything on my old iMac feels suddenly snappier. Hard to explain, just a feeling, maybe wishful thinking.
iDisk is instantaneous. Expos -
I’m running 10.4 on an old 15″iMacG3. iDisk mounts instantly. Uploading and downloading are superfast.
I am updating the OS to 10.41 as we speak. Tell you what happens in a few minutes.bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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How are you importing the MPEG2? There might be a glitch somewhere in that flow.
The easiest thing we’ve done for resyncing audio from weird Canon cameras is to simply adjust its speed to fit the video track. There are several ways to do this, here’s one:
Find the exact length of the video track.
Select the audio track only, control-click>speed adjust. Enter the exact same length of the video into the new length of the audio track. Might need to render, might not.bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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Did you reinstall your Pro key for QT6+? QT7 may have changed the permissions for access to the advanced codecs since it was not pro enabled. Just a theory.
Where did you get the codec? Can you reinstall it from your Kona CD?
Worst case is something you could prepare for now: Start rounding up the original tapes.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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Look for Zettle.
Fundamental video and television stuff.
After that, you will need ten or twelve other volumes. No kidding. Hit your local public and university libraries first. You can peruse the shelves and maybe check some out without investing.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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Yeah, doctors. Your client is nuts but there may be no way to cope with their ridiculous expectations.
He gave you a file that consists of about 500 lines of pixels. He tells you to throw away 250 lines and then tells you the resolution isn’t as good as he expected. Obtain the footage form one of the cameras? But, knowing doctors, they didn’t to record all three versions (left right and combined).IN AE, there is a filter that will interpolate the fields and attempt to build new lines that are a combination of both. It’s not designed to combine fields that from different interocular positons, though. As an object’s distance from the eyes (cameras) increases, the horizontal displacement of the vertical lines increases. Attempting to blend these results in terrible blurring.
But you can then attempt to sharpen the image.
I jut drew some pictures on a napkin. This might work. Lots of work. How much can you charge this guy? You COULD attempt to alter the horizontal positioning of the two fields with a displacement-scale filter. This is a grayscale image that would shift pixels right or left, proportional to the luma of the grayscale. You would create the grayscale based on the maximum distance from the camera of any single object.
This will result is some mild distortion of the image, can’t be helped.
sorry to ramble. That’s how I’d approach it, displacement filters applied to two separate field extractions and then field blended.
God god, I hope someone else has a more practical suggestion!
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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Not only does FCP’s Media Manager and Time Remap totally blow, the rendering algorithms in FCP are terrible. Just wait till you view your finished slow motion or scaled images. If you have access to After Effects, save yourself some big hassles later and just take your speed changes and scaling moves out to AE. Apple claims the rendering engine in FCP5 has been rebuilt. I won’t see till I believe it.
As you move your doco along towards roughs and approvals and tests, you are going to come up against many more FCP walls you weren’t expecting. Some of these are user issues
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> Man, I’m ready to bellive there’s something to holistic remedies after all. 🙂 Somehow the glitch manages to infuse the very essence of the image, even when all the data has been changed to different formats. < That's not really possible so there's something else going on at the project file level. There is something in your timeline that is causing this whether you can see it or not. Or, even more bizarre, there is something hidden in the data associated with the original or second generation render. Do you have a chapter or other marker at that location in the timline? Can you open a copy of the timeline and then delete the rendered file? It might not be worth debugging. bogiesan This is my standard sigfile so do not take it personally: "For crying out loud, read the freakin' manual."
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Looking at the other post (or posts),Kimberly seems to be posting about a series of problems related to not quite understanding FCP’s weird family of Browser items: independent clips, subclips and master clips. Time to RTFM.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”