David Hames
Forum Replies Created
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Where do I find the “Reveal File” command–is it the reveal in bridge command? It’s greyed out because the link is broken. And, if the link is broken how do I find out the exact name of the file AE is looking for. When I use the Replace Footage, it just shows me the name AE has, which is truncated, so I don’t know the complete name of the file AE is looking for. (It must know the full name or it would have never been linked in the first place.)
Thanks again.
David
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RED Balloon Entertainment
films and other visual enticements™
http://www.balloonballoon.com -
Thanks again, Luke. The MXO is DVI/SDI/analog out while the MXO2 is HDMI/SDI/analog out and in. In any case, the industry is beginning to realize that if an LCD computer display can be calibrated to produce spot on color in print applications, then with a little help (to accommodate interlace and frame rate issues) you can use a computer monitor for accurate video reproduction. And, the same can be said for HD television/monitors. It’s all digital, and if I can get a “blue only” and have adjustments to create a custom LUT to accommodate the flavor of the monitor, then I’ll have pretty accurate color reproduction.
It’s just like my sony PVM broadcast monitor now–there were much more expensive monitors available in the broadcast space–and you’d find them in telecine suites, but it was more than adequate for my needs.
With the advent of the DV format, companies like yours have shown you don’t need $100k to build an incredibly capable production suite. But now, I’m going to have to drop some serious coin to accurate monitor HD from my Blackmagic cards. Right now, it’s significantly cheaper to drop my BM cards and go with an alternative solution. The irony is, that I’m sure with just a little code work, that wouldn’t be the case.
Thanks again.
David
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RED Balloon Entertainment
films and other visual enticements™
http://www.balloonballoon.com -
Thanks for your response, Luke. If I may suggest adding “Blue Only” and proc amp-like output controls to the Intensity (and other Blackmagic cards) system preference control panel because that would make your products the best in the market. The LUT solution sounds pretty clunky at best–especially since I would have to adjust the monitor through it’s native controls which is typically menu driven and not at all efficient. I know it would be a no brainer if I had a broadcast HD monitor, but that’s a $5k to $10k investment with very poor ROI in terms of my clients’ requirements. I need accurate color, but at the same time, I’m not color grading for theatrical release. I need a $2k to $3k HD monitoring solution.
Do you know if the Intensity card can play nicely with the Matrox MXO or will I need to scrap my Intensity and go with the MXO2?
Thanks again.
David
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RED Balloon Entertainment
films and other visual enticements™
http://www.balloonballoon.com -
I’ve got 8-cores pegged in activity monitor–it’s a beautiful thing.
Thanks so much for your insight.
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Could you explain or point me on how to do that (create a virtual cluster)? The manual doesn’t have anything on virtual clusters, just clusters. Are they the same thing? Or are you talking about setting things up so that Compressor thinks each processor on my 8-core is a separate computer?
I saw some command line instructions in the manual regarding clusters, but the bulk of it was a bit over my head. If it will cut renders in half I’ll learn it, otherwise I’ll probably have to wait until an upgrade provides a check box “for the rest of us.”
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Running Leopard. Is Tiger optimized? That would be ironic.
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At least we’ll soon be able to play cool games on our iPhones–Oh, wait, I don’t have an iPhone. But waiting for Apple’s latest “workstations” to finish a render is a great excuse to buy one!!!
This is the kind of stuff that feeds the rumors that Apple is abandoning Pro Apps.
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Red Balloon
films and other visual enticements
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If you can get this client to legitimately answer a couple of questions, you’ll be back on track.
1. WHAT does the client want the viewer to do at the end of the video? Buy something? Invest in something? Vote for someone?
2. WHY would the viewer buy, invest, vote as the video suggests? This often goes beyond the unique features and benefits of the “product” but includes an emotionally compelling reason for them to act. And when I say emotional, that doesn’t just mean tears, it could mean passion, it could mean fear. Find the drama/conflict in it to create a compelling reason for people to act and your client will be thrilled. I think the client is saying “production value” because he wants the piece to make him “feel” a certain way, not “look” a certain way.
I don’t know your skill set, but if writing is in there, you’ll be fine. If it’s not, consider hiring someone. I don’t know how much material you’re dealing with interview wise, but I’d probably budget in the $1,500 to $1,800 range to get a writer, it just depends on the amount of material and where you’re starting. It would also be necessary to get the interviews transcribed with timecode notes, which runs around $125-150 per hour of interview.
If you’re looking for a writer shoot me an email and I’d be happy show you some samples. If I’m out of line soliciting a gig here, I apologize in advance.
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Red Balloon
films and other visual enticements
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I had to do a budget greenscreen shoot on DV and used a plug-in called “VectorKey” (https://www.oakstreetsoftware.com/)- It’s $60 bucks and does a really solid job for a talking head situation. Sure, 4:2:2 acquisition is going to be a lot better than DV or HDV, but as with every production you have to figure out where your money is best spent and also try to make the most out of your production day–a tethered system may cost you more in time (and time is money) so renting a 4:2:2 solution, or doing the best you can with DV or HDV footage may make the most financial and artistic sense.
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Red Balloon
films and other visual enticements
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That’s great for the markers in the timeline, however, you can’t “find” names or comments for markers in clips in your browser–if it’s not in the timeline (or your timeline isn’t highlighted) it’s invisible to the “find” command. I typically have 20 to 30 hours of source material for a project and often times, while looking for a shot, I find another shot that I’d like to note as something to keep in mind for another part of the project. So I can edit this shot into a “good b-roll” sequence which is a significant interruption to my workflow–and often produces an equally long sequence which I have to wade through. The other option is that I can add a marker, give it a name, then navigate to the “log note” entry on the clip to retype what I just entered in the marker so I can “find” it later, but that’s not very productive either. Sure, I want it the way I want it, which is: hit “mm” type a note for the name and move on–fast and efficient–but as of version 6.0.2, that marker is not searchable outside of it residing in my timeline.
Final Cut, and non-linear editors in general, are due for a major interface overhaul in terms of managing media, something more like Aperture or iPhoto, but for video. There’s software out there called iDive, which may have potential, but it’s targeted more toward serious hobbyists than professionals and it’s a separate program, but the way it lets you view and organize media is a step in the right direction. (I’ve been keeping my eye on it.) Maybe Final Cut Server, if it ever gets released, will provide the answer. But if Apple is unable or unwilling to make marker text searchable, having a revolutionary way of organizing my media seems unlikely.
David
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Red Balloon
films and other visual enticements