Ed Dooley
Forum Replies Created
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Urgent, Urgent, Urgent!!!
Next day, nothing.
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As do us old Media100 hacks. 🙂
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You mean this feature in FCP 6.0.2?
>>Scroll to Playhead: Horizontally scrolls the Timeline so that the playhead is centered in the window.<<< [Jake Hawkes] “I realize why this was probably removed (processing power), but from the perspective of a Autodesk editor coming into the Final Cut fold this feature, or lack there of, is drivng him crazy…
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This should be one of the FAQs because it’s been asked (and answered) hundreds of times.
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Yeah, Cinema Craft is for MPEG-2. I mentioned it because, since it’s a plug-in, it’s one way to make Compressor a better all-around tool (albeit at a high price).
Ed[Brian Genchur] “Yes, I meant Compressor 3.0. Sorry about that.
I’ve looked into the Cinema Craft encoder, but that’s strictly for high-quality DVD compression, correct?
I’m thinking that Episode would probably be the best way to go. Your most confirmed my belief that it’s the best overall encoder.
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You mean Compreesor, right?
Depends on what you want to compress from and to. BitVice still does better MPEG-2 compression than Compressor, CinemaCraft is now available as an expensive plug-in (expensive Hollywood film quality compression plug-in that is). Episode, I think, is the best all around compressor on a Mac (specifically the Pro w/Flash version), although with enough plug-ins, Compressor can be pretty good.
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I agree. What we do for now is encode most things to one setting each of H.264 and WM9. It’s amazing how WM9 used to look so good compared to older QT and Flash codecs, but now looks terrible next to H.264 QTs. That covers everyone, and we have the H.264 ready to include in an FLV SWF wrapper when we want it.
Ed[Joseph Moore] “If the IT high priests demand WMP9, then you encode appropriately. I don’t do those kinds of gigs, but I feel you, Ed. 😉 Even so, you’re down to two encodes, H264 and whatever WMP9 compatible codec you choose. That’s a darn sight better than the “old” days when you routinely had to encode for at least 3 different players and two or three bitrates bitrates each! Tools like Sorenson Squeeze were a must.
The net take-away on Flash is that the old proprietary FLV codecs have been deprecated in favor of a standard, and that is great news for both the production and the consumption side of the chain.
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I love the look of H.264, and I can’t wait for it to be the universal choice (it’s coming, I know). If you can get WMP to play H.264 without installing FFDShow or one of the other 3rd party plug-ins, that’s news to me. It gets right back to a big segment of viewers for some of us, corporate clients. On a typical PC installed at a medium to large corporation, you will find WMP installed by default, you won’t see Real (hard to believe they still exist), you won’t see QT, and you most likely won’t see Flash 9. All this is said knowing that there are exceptions, a forward thinking IT department will keep everything up to date. “hello, IT? I really want you guys to install FFDShow on my PC so I can play H.264. No? How about QT? No? How about Real? No? How about about the latest version of Flash? No? Ok, I guess I’ll have to look at WM9 video, thanks.” In my experience, my university clients have QT, but 2 corporations considered large companies only have WM9 capability. And BTW, YouTube is only recently encoding to higher than Flash 7. They’ve stayed at the low res version for exactly the reasons I’ve been saying, lowest common denominator.
[Joseph Moore] “You’re kind of missing my original point. I’m not promoting Flash so much as I’m promoting H264 as the most universal codec. The most players can handle it. Current versions of Flash, QT, WMP and Real can all display it. Encoding once is a beautiful thing.
Of course if your paying client is stuck with older browser technology, you do what you have to for them to see it, of course. But in general practice, H264 is currently, and for the foreseeable future, the HQ standard for online delivery. I count this as a “good thing.”
PS. There is a reason YouTube, Vimeo et. all use the Flash Player. Like it or not, more surfers have Flash than any other plug-in, and no one is even remotely close. (That’s not coming from Adobe, that’s coming from server logs.)”
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Yeah, b-roll. When someone says it was shot on an HVX200, they generally don’t mean “I’m editing a show that was shot on an HVX200, which actually was only the b-roll camera” 🙂
When he said “major network” the thought of the Food Network didn’t even cross my mind.
I’ve shot some stuff with the 200, and it worked out OK, although I think it’s the softest image of any of the 1/3″ chippers.
Ed[walter biscardi] “[Ed Dooley] “And a “major network” is shooting with an HVX200?”
Sure, why not? Ever hear of “Dirty Jobs” on Discovery? You can see the HVX-200 in almost every episode. Ever hear of “Deadliest Catch” on Discovery? Around 50 Z1U HDV cameras are used per season. “Good Eats” on the Food Network uses the 200 as the B-Camera and every season of “Feasting On Asphalt” has been completely shot on the 200.
Not sure what the implication is here but the 200 is a solid broadcast HD camera.”
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A major network will tell you “exactly” what they want. Ask them.
And a “major network” is shooting with an HVX200? And why would you assume ProRes, why not the codec it was designed around, DVCProHD (100)?
Ed[Scott Wright] “I am cutting a show for a major network in HD. They are shooting in 720 (instead of 1080, don’t ask, loosing battle).
Anyway, I am wondering what you guys and gals have come up with concerning workflows for deliverables.
Because of the camera they are using (HVX200) I’m assuming that a conversion to ProrezHQ is in order for editing. But where from there?
Compressed? Uncompressed?
What would you send to them?
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