[David Roth weiss]

[nestorl] “Unless you explicitly waived your copyright claim to the project, you have copyright claim to the entire project”

That’s an interesting one I hadn’t heard before Nestor. It certainly makes me feel better about not signing a deal memo. I can’t wait to inform Bob (Exec. Producer/Director) of this. His paranoia will increase dramatically.

[David Roth weiss]

Tim,

Its a mixed bag. On one hand I would tell you to do just about anything to get ahead in this business, but, on the other hand, there are laws about this stuff, and interns are not just slaves that companies can use in place of paid employees.

Due to abuses that went on for years in the TV and motion picture busineses, here in California there are now stringent laws pertaining to the treatment of interns. In fact, many internships now pay minimum wage. Most importantly, interns are supposed to assist in support of those in paid positions, they are not supposed to be free workers.

If I were you, I would go to the boss and tell him what you’re looking for. Let him know that you like working for his company, and if he likes your work he’ll have to pay for it from now on.

DRW

[David Roth weiss]

Here on the Cow its definitely a “moo” point… And, your Englaise is just fine. A whole lot better than my anything else, I can assure you.

[David Roth weiss]

When you initially select “Send To Motion” a dialogue box opens asking where to save your file — this is where you will direct your file to save to your media hard drive — scratch disk establishes only where captures go.

And yes, all of your renders and media files should be directed at a dedicated media drive, not just to decrease rendering time, but so they playback properly without burdening your system drive, which has its hands full running the OS and all your apps.

DRW

[David Roth weiss]

[JeremyG] “I usually export straight to compressor from FCP.”

Jeremy,

There are actually many reasons not to do this, time factor being number one. Ken Stone’s site has a great article on this subject.

Next time try exporting a self contained Quicktime file first, takes almost no time at all, even for very long timelines (a 90-min timeline takes only like 15-mins.). Then you can use Compressor, any other outboard encoder, or even Toast to make your files for your DVD while you coninue to edit using FCP. Compressor from the FCP timeline takes a very long time because it does what is called variable rate segmented compression, adjusting compression each time it encounters a new clip on the timeline.

DRW

[David Roth weiss]

[sacci] “maybe a mute point but I was wondering if anyone is experiencing the same thing.”

Don’t know the answer to your monitor issues, but, thought I would mention that the term you wish to use is “moot point,” not “mute point.” FYI, here’s the derivation of that term:

“Moot dates back to Old English, where we find it in such words as Witenagemot, the Anglo-Saxon precursor of today’s Parliament (literally “meeting of wise men”). Mot basically meant “meet”, and it comes, in fact, from the same source as today’s word meet. That common source was the prehistoric Germanic word *motam “meeting”. So a moot point is a point that is discussed in a meeting. At least that’s what it was originally. Today the meaning has been corrupted to “no longer important, irrelevant”. How did this happen? It is probably a result of the mistaken interpretation of the word moot in a legal sense. Moot court is the name given to a legal exercise wherein a hypothetical case is discussed and debated. In the end, because the case is hypothetical, it is “irrelevant”, and so moot took on that meaning over time and that, today, is the more common meaning, even though most proscriptivists consider it incorrect.” – Mark Hotard: Words To The Wise

[David Roth weiss]

Michael,

Since Steve is recovering from a bad accident I’ll step in for him…

Nest your seq. by dragging and dropping it from the browser into a new timeline. Next, drop the Timecode Generator filter from the VIDEO FILTERS – VIDEO folder onto the video track and voila, instant timecode window. To change the parameters of the timecode window right click or option click on the video track and select open in viewer. In the filter tab you’ll see parameters for size, placement, and most importantly, hour offset. If you are like most of us, you typically use timecode starting at hour 01:00:00:00. In that case, add a 1-hour offset. Depending on your system speed, drive setup, number of layers etc, you may not have to render, but there are never any promises in renderland…

DRW

[David Roth weiss]

Thanks for “splaining” that fellas. I’m getting a film tomorrow that has been telecined to DVCPro100 and at least I’ll know a bit more about what’s happening under the hood, even though my BM card won’t be assisting in the operation.

DRW

[David Roth weiss]

[walter biscardi] “With DVCPro HD and HDV, the Kona 3 can help as it takes the video scaling process off the processors”

Walter,

What scaling is necessary for DVCPro HD?

DRW

[David Roth weiss]

[kung-fu_man] “Easy Set up is for digitizing.”

Not true, Easy Setup is for a lot more than just digitizing — its also the most foolproof way to properly setup new sequences in a project. Once you set your Easy Setup properly any new sequence you open will have the proper settings.