David Roth weiss
Forum Replies Created
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The Avid DNX codecs are free, indistinguishable from Pro Res, and are 100% cross-platform (i.e. useable on Windows and Apple machines.
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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Transcodes, renders, etc.
The more important question is, with hard drives at an all time low cost right now, why are you up against the storage wall?
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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Simple non-Serif fonts should be used 99.9% of the time in post as they are much easier and faster for an audience to read. Arial, Helvetica, Calbri, are examples…
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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Have you tried uninstalling the Nvidia drivers completely using their uninstaller, then reinstalling?
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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[Shane Ross] “That’s not what he asked, David. He wanted to know if the cable that shipped with the MXO2 was just a basic cable, like the one he linked to.”
Hey Shane! In fact, the original poster did also ask about using the MXO2 Mini to upscale his material… Here’s his 2nd question: [Ken Klipps] “Also, will using this device even work for bringing in the analog signal from the S-VHS and hardware scaling it to 1080p to prevent digital pixilation?”
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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Realtime hardware up/down/cross conversion
for capture, monitoring, and outputMatrox MXO2 products and Mojito MAX let you deliver in any format your clients demand. The 10-bit hardware scaling provides high-quality mastering.
HD to SD downscaling
Realtime HD to SD downscaling is performed with proper conversion of the HD color space to the SD color space. Proper aspect ratio conversion to anamorphic and letterbox are supported on Mac and PC. Center-cut is supported on the Mac. You can monitor or record an SD master of your HD project in real time.
SD to HD upscaling
Realtime SD to HD upscaling is perfomed with proper conversion of the SD color space to the HD color space. Footage with a 4:3 aspect ration will be “pillarboxed”, 16:9 SD footage will be scaled to full screen.
Cross conversion
Realtime cross conversion from 720 to 1080 and 1080 to 720 is supported. Realtime frame rate conversion is also supported with 2:3:2:3 and 2:3:3:2 cadences. This feature is useful if, for example, your source material is recorded at a different frame rate or resolution than the delivery format your client requires. It also facilitates monitoring when, for example, you need to work with 23.98 fps footage but your monitor does not support that frame rate. You can use the realtime frame rate conversion feature to view your project at 29.97 fps. Conversion from 23.98 fps to 25 fps is handled by your editing application and the host.
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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Get Disk Warrior
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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[Oliver Peters] ”
I’ve done a lot of interview-based docs, web videos and marketing pieces and almost never have a transcript. I work with the material in front of me. I’ve found that transcripts can be a false aid, since often times things that looks like they would edit together well have the wrong inflections, so I prefer to work without transcripts. OTOH, transcripts (with a way to match locations in the media) can be a get help, when the producer says, “What about statement XYZ? I seem to recall them saying that.” If they can give you a way to find it based on the transcript, then it’s easy to call up and review.
“Hey Oliver, after 40-years of making long-form docos, all with hundreds of hours of interviews, I can assure you that having time-coded transcripts is a huge timesaver in post, because it allows the editor to take advantage of the non-linear random access functionality of their NLEs. While I do agree with you that transcripts are most certainly imperfect on there own without first correlating them with the source material, once that step is done the post process truly becomes non-linear, and thus much faster.
When the printed transcripts are returned from the transcriptionist the best practice is to playback the material while following along in the transcript (this is close to realtime and is essentially linear functionality). I use a highlighter to mark the best soundbites on the printed pages, and I insert markers in whatever NLE I’m using – and, on that initial pass I can usually, but not always, discern which inflections cut together and which will not (sometimes you just have to try an audio cut to be sure).
There are innumerable advantages to the method above, but the primary advantage is that, once you’ve correlated the transcripts with the interview in your NLE (i.e. linear), from that point on, you can then quickly jump at hi-speed (i.e. random access) to any point you’ve previously marked – now you’re using your NLE as it was designed, as a truly non-linear random access device.
In addition, everyone working on the project, from the secretary up to the Executive Producer, can have their own copy of the timecoded and marked transcript to refer to, even if they are in the field and don’t have a computer nearby, meaning that everyone is “always on the same page,” both literally and figuratively. This can be a huge advantage to almost every department involved…
Does this 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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With that version of QT you’ll experience a giant explosion and a huge mushroom cloud.
NOT
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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[Nick Griffin] “My fav of his is The Graduate. It continues to this day to be extremely relevant for viewing the world through the eyes of the disaffected. “One word: Plastics.””
Agreed!!! The entire cast was stellar, but Anne Bancroft as Mrs. Robinson was a perfect cast and perfectly played.
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.