David Roth weiss
Forum Replies Created
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Livetype can be found on your old FCP 6 disc, and you can install it along with FCP 7. Or, at least you used to be able to – I’m not sure how the newer OSs affect it.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Why don’t you post a still frame for us to see?
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Just wanted to chime in here to let you know that, for many users,” Pro Res LT suffices for finishing. I’m not one of those, but many do online using LT.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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You absolutely, positively must replace with a like drive or your array will simply never work reliably. But, you’re in luck, now you can replace all your 5400rpm drives with the 7200rpm drives you should have been using all along.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Bob Zelin] “SATA drives, SAS drives, SSD drives, LTO tape. Those are your options. “
And, don’t forget, there are always Firewire drives too… 🙂
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Willian Praniski] “the main question basically, is how do i know i properly converted the 12-14 stops into 6 stops (rec709)”
It seems you have a bit of misunderstanding regarding dynamic range in this context.
The 12 – 14 stops of dynamic range you are referring to per RAW files relates to the ability to color grade that material as it comes straight from the camera, it does not refer to the dynamic range of material for web-viewing on YouTube.
If perfectly exposed, the RAW files straight from the camera will have the maximum dynamic range possible, affording you the maximum range of exposure latitude and color control during the process of color grading. However, any time you transcode or encode from the RAW files to a traditional video codec, and that includes exporting from Resolve or an NLE after color grading, you will lose some (or a lot) of both dynamic range and color information, depending upon the non-RAW codec you choose, and thus you will lose some (or a lot) of your ability to control color grading and exposure control during the grading process.
For example, if you transcode or encode from RAW to a hi-performance codec such as Apple Pro Res 422 or Avid DNX 185 before grading, even though these are fairly lossless codecs, you will lose some dynamic range and color information recorded in the RAW file, and though your ability to color grade will still be quite robust, you will not have the full 12 – 14 stops of exposure latitude you’ll have with RAW files. That does not mean the video will look bad, it just means you’ll have less digital information to work with, and thus not quite the same range of exposure or color control you would have to work with if you graded the RAW files.
With regard to encoding to h.264 for YouTube, this entire discussion really does not apply, as you would not be using those files once encoded for YouTube for additional color grading. Right? When encoding to YouTube preserving resolution and proper color gamma are normally the primary concerns, not dynamic range, as the goal is to provide a smooth and optimal viewing experience to your audience on their computers, phones, etc., not to provide them with material for further editing.
If you are providing material for stock footage download, then tell us, because that has a few different nuances to discuss.
Does this all make sense?
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Jeeze, people actually want to close the gender gap now – what’s this world coming to? The next thing they’ll want to do is democratize video production, and then of course we all know that will inevitably lead to trackless audio and the eventual demise of our industry.
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It means you’ll be working from finished masters with mixed tracks, and you’ll have to deal with transitions and mixed tracks as best as you can.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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If you really like your current RAID array, why don’t you buy a noise suppressed rack for it? The cost would be far less than a new T-bolt array.
David Roth Weiss
Director/Editor/Colorist
David Weiss ProductionsDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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I kind of assumed the same, but since it’s really not common vernacular in the biz I didn’t want to make an assumption, because we all know that usually accomplishes nothing positive.