[David Jones]

I guess I should just bite my tongue, as I sit quietly waiting for the George Forman Grill/ExpressCard/34 slot adapter for my new MacBook Pro.

I can remember back when it took all day long to render a burger on my old Quadra 950.
Maybe I should clean out the attic… For sale Quadra 950 and Nubus Expansion chassis.
Slot looker shows
slot A… Mr Coffee Rev G
slot B… Trash Compactor Rev A
slot C… Forman Grill Rev 2c

[David Jones]

[Dennis Size] “GOOD COLORS = gray or tan

BAD COLORS = white and black”

I have worked in many different studios, with many different floor colors, from blue tile to maple hard wood.
Each has it’s advantages and disadvantages.

The major reason I suggested Black as the tile color was because this is a High School with many pairs of feet wearing different types of street shoes,
scuffing their way across the floor.

I can just hear the custodian as he mumbles… Damn kids can pick up their own feet.

[David Jones]

I would hold off on the floor for a little bit.

First off, how big is the space?
What other things would you have room for in this teaching/learning lab?
Maybe divide the space into a nice size studio, and a control room/edit area.
In the studio area you might lay black tiles, but as Wayne said, they will hinder your truck & dolly performance if they are soft or spongy.
Then in a corner you might build a white cyc area.
A Green screen wall would be fun as well.

By producing class videos and such with DVD sales to parents, funds can be raised to buy more gear and such.

[David Jones]

Unless things have changed in the last…. oops! Things just changed!
OK, the last time I paid any attention to soap opera production, the video format used was dependent on the network.
For example, say network “X” uses Sony gear and is still shooting standard definition.
They would then shoot multi-camera live through a switcher with a director, TD, Producer, Basically a full crew shooting it as a live production,
and mix to a DigiBeta master, with a Beta sp backup, and a Beta sp iso on each camera.
Network “B” might have switched production over to HD using 1080i.
So at any rate, what ever they record to, it’s a professional format, and no, you would not be getting a miniDV tape.
From memory, all crew was in-network union TV guys & gals, but if like you say, that has changed to freelance?

[David Jones]

[meeroo] “Just don’t say ‘use a broadcast monitor’ :)”

Posted in the “Broadcast Forum”……

[meeroo] “Since I never used real broadcast monitor (not enough money, so I use plain TV “

I’m not sure where you are, but in my little corner of the world, a broadcast monitor and a nice computer monitor with DVI port are about the same cost.
In fact, you can purchase a little 13 or 14″ Panasonic or Sony CRT Broadcast monitor for about 1/5 the cost of my new 30″ Mac display.

I mean really, You own a DigiBeta and HD VTR, but you can’t afford a little broadcast monitor?

[David Jones]

Two tips…
#1: Don’t use a shotgun mic for closed space interiors.
#2: Replace the actors lines with a little ADR session.

Good Luck!

[David Jones]

What is your budget for all the things you will need?

[David Jones]

[Simon Carlson-Thies] “But in terms of RT a laptop won’t cut it, you’ll need to get a desktop”

The MacBook Pro is as fast, if not faster than a bunch of “Desktops”.
But as stated, you will want to get an external drive system for your video editing.

[David Jones]

Well, 48k for DV work, move the mic just a wee bit closer than 3 to 4 feet away, and read your Protools manual!

[David Jones]

All mixing aside, the bounce down time is dependent on the software used along with computer speed.
Some applications, like MOTU’s Digital Performer for example, can bounce faster than real time.
Others like Pro Tools, bounce in real time. Meaning if you have two different 23min mixes, it will take each mix 23min to bounce down.