Dylan Reeve
Forum Replies Created
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We’ve found taking a Quicktime export from FCP (with the ‘Current Settings’ configuration) and then into Compressor for two-pass 6.5Mbit/s MPEG-2 works well.
However the fact that the image as to be scaled to 80% of it’s height and about 56% of it’s width does mean some detail will be lost or rounded oddly.
I can’t remember the default settings but check your compressor setting is handling the footage as compressed otherwise fine detail will strobe.
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What a reassuringly ‘normal’ political attitude on display here. Unlike some of the other US-centric forums I participate it.
There’s a sane middleground in there somewhere and I’m sure the US government and citizens will figure it out at some point. But from the outside a bunch of stuff seems to be tilting absurdly toward the ‘guilty until proven innocent’ thing.
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If you have the BCC plugin there is an effect called ‘Witness Protection’ which is exactly what you want.
If you have Media Composer you can use the Paint Effect to draw a circle and animate position and size. There are a variety of fill options including mosaic and blur.
If you only have Xpress Pro (were there is no Paint Effect) then the best way is to drop a Mosaic (possibly Pixelate?) effect on filler above the clip, you can then drop a Circle Wipe on the track. By keyframing the Level and position you can animate the size and location of the circle.
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If/when I travel to USA next I will be removing the hard drive from my laptop and carrying it separately. I presume if the drive isn’t in the machine they wouldn’t be able to compel me to put it back in.
Seriously, what they hell. These things are clearly not efficient. No ‘terrorist’ is going to have unencrypted plans for attack on their laptop flying into the US. All this will manage to do is catch ordinary people for other unrelated crimes – if it can even be considered legal search and seizure in non-terror crimes.
I wonder when the rectal probe will become a standard part of travel in and out of the US rather than the special privilege it is currently? For your safety of course.
I’m certain that every time they enact one of these measures that the ‘evil-doers’ just adopt a new technique. Shoes get checked? No problem we’ll do a liquid bomb. Checking liquids, well, bombs in the bum then. It’s a closing the gate after the horse has bolted, every time.
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I’ve found this behaviour fairly inconsistent. Marking in and out and editing a sequence into another create a ‘phantom’ nested sequence. It seems like dragging a sequence from a bin to a sequence if it has in/out points seems to do the same.
But trimming and cutting from a nested sequence in another sequence seems to maintain the link to it’s related sequence.
I’ve found that there are some things (not quite identified what) seem to make a sequence that was previously related to the original bin sequence lose it’s relationship and become a ‘phantom’.
I sort of dread nested sequences now, but they are pretty necessary for lots of things.
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Wow Andrew, that sounds incredible. I don’t think any of the shows I worked on generated more than 25 hours of footage a day. I kind of like the idea of planning setups like that, but the ‘nothing in or out except through an AE’ thing is great. It’s amazing how easy it is for a whole workflow to get messed up by careless ingest.
We used to edit all our shows at 15:1 offline in the Avid. Then I think moved to DV25 offline when the drive space became a little more plentiful.
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[Eron Otcasek] “anyone have any insight to weather the big networks are hip to using FCP or if it’s still all AVID? how bout’ smaller networks like MTV?”
The shows aren’t normally made in house by the networks, so I doubt they care as long as the end product passes the tech checks.
In New Zealand it’s almost all Avid. I know a few places using FCP for little shows, but all the major shows are Avid. There are various features that are quite ingrained in the production workflow that make a change quite difficult. Things like clip colouring are big for a lot of editors. Plus Avid’s ScriptSync feature can be unbelievably helpful, especially on multi-camera shoots. Also, Avid’s Unity network system is in place in a few of the larger companies.
Obviously that isn’t the case everywhere. Each company will have it’s own systems and reasoning for that.
Either way, it’s definitely worth learning both systems.
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[Ed Dooley] “BTW, I’m a fan of World’s Deadliest Catch (otherwise known as a documentary).”
I think you’ll find Deadliest Catch definitely fits the general description of Reality (not Reality Game Show like Survivor) rather than Documentary. Episodic story lines are crafted from the documentary footage in Deadliest Catch to create character story arcs.
Something like Cops on the other hand is much more Documentary, where it’s told with no narrative or presenter and simply show fly-on-the-wall stuff.
In my opinion, calling Reality ‘lowest common denominator’ or blaming it for some perceived decline in TV quality is a massive cop out.
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I like Reality TV (having worked on many of the highest rated reality shows in the country) and I also love Good Eats (I also did some work with the NZ channel that screens it).
Go figure.
For what it’s worth – we in NZ had a ‘people stuck on a remote island competing for prizes’ show in NZ before Survivor was made. I spent two weeks in a tent on the ‘crew island’ for a series once. Fun times.
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We have Paragon which works well. I’ve also used NTFS-3G – but as it’s a usermode driver it mounts the drives slightly different (OS X sees it more like a network drive I think) so we couldn’t use it with Avid.
We also have MacDrive on a few of our Windows machines. It also works well.