Ed Dooley
Forum Replies Created
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You don’t *really* want reviews based on the trailer, do you? BTW, now that the film is done, you can probably take the casting call off your home page 🙂
Ed -
The whole mission of a film title company is to make *their* movie titles not look like every other movie.
The main thing to consider is what the format is. If you’re making a real movie, where the resolution is film resolution, not video resolution, then it’s not as critical as if your end use is TV. Fine line serif fonts look great on film, but are terrible when they’re interlaced on TV.
Ed[Nic Hubbard] “I am trying find what font is used for a good majority of movie rolling credits. Does anyone know? I really want the credits to look like a real movie, I have used Helvetica, but I don’t think it looks right, any suggestions?”
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At least you caught it 🙂
Loose is becoming the latest pet peeve of the language police, replacing your, as in “”if your using it correctly”.
Ed[Jared] “‘lose’ not ‘loose’ quality.
Oops, missed that one.
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The easiest thing you can do is a simple search of this forum. All the answers have been given already.
(Ok, one answer- editing a 16:9 sequence (set in FCP as a 16:9 sequence), and authoring in DVDSP as a 16:9 file, will cause DVD players to automatically generate a letterbox when shown on a 4:3 TV, assuming settings are correct).
Ed -
I’m in Rio de Janeiro using a DVX100A for the first time. I shoot very little DV, mostly with a DSR-500, so the little camera is both fun and challenging. My crew and I are here doing a documentary about beach soccer (the first FIFA World Cup is happening on Copacabana Beach as I write this from the Press Room).
The normal lens has very good wide angle (I can’t give specifics, it just feels wide). I don’t like it’s limited 12x zoom range. I’m also using the Century anamorphic adapter which gives the best 16×9 resolution, but its rectangular front end precludes using other screw-on adapters. My big pet peeve is the postion of the white-balance button (right on the front left where I want to put a finger for balance). I guess a secong complaint would be the low resoltion color viewfinder. My biggest delite is getting over big-camera envy. There are a lot of Beta crews here, but I’d love to see them walk for blocks through a market while holding their big rigs high above their heads. 🙂
Ed -
I have an IOLA and FCP HD, and capture video-only with no problem. Don’t know off the top of my head what AJA drivers are installed.
Ed -
Drop the 16:9 footage into a FCP 4:3 timeline and FCP will automatically add the black bars for you.
Ed -
Dual-layer, *not* dual side.
Ed[bogiesan] “Doesn’t look like much of a price change but you get much more machine. Slightly larger drives and the dual-layer (dual side?) burner. No additional RAM and I can’t find specs on the video cards.
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The fastest performance is as Walter said, but if you can’t use the built in FW buss because you have something connected to it (like an AJA IO or certain camcorders or decks), and you don’t have a 2nd FW card installed, then Oliver’s suggestion is faster (if only slightly) than 2 drives on a single FW cable. Oliver also alluded to the G-Raids maybe being faster than LaCies. G-Raids read/write from the inner track of one drive while reading/writing the outer track of the other, which averages out the empty/full performance.
Ed[Oliver Peters]
“The best results are with a separate FW card and two of the 500GB drives striped together with the card.[Walter Biscardi]
You had them striped together and both running off the single FW card? That will result in pretty slow performance vs. one drive connected to the Mac FW800 Port and the second connected to the FW card. You basically get two channel performance when you run one drive on the card and one on the Mac for much faster performance right through the capacity of the units. This is how my two 500GB units have been running for the past year both on my G5 and the G4.” -
After Effects- Animation, Motion Stabilizer
Ed