Eric Mccarthy
Forum Replies Created
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Okay, I am going to try this and send an export to the Queue. Will let you know what happens.
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Hi all,
Thanks for the good suggestions.
RE: The nested track; it would work under better conditions, but this multi session, sometimes changing rooms, media starts new and Epiphan starts new at diff. times. Both projects (each with eight, multi-hour sequences) had to have the cam/capture TLs synced. Then I had to wade through and cut as needed.:
RE: The matte; I flirted with various secondary layer options, but hate the fade dilema. I am actually having to re-size multi inputs (ipad, various PPT settings and screen resolutions), then cutting above the video tracks, batch adding the transitions, and (gulp) dropping the that on top of the video TLs.
With that, the biggest concern is that on a TL that big, when I drop it down, Premiere Pro CS6 wants to “slip” back and forth on the TL between various (many) markers and cut points. Like I mentioned earlier, I am a convert from FCP, and I have my KB set to FCP7 shorts. I would normally hold down shift to “lock” that track as I drop it. This is not working.
Since I have you (anyone listening), the next step of the project is to burn it all to DVD. I know that PP and Encore play well, but with a project of this size (about 85 hours in 1 – 3 hour chunks that have to be cataloged), what’s the best prep for output at the end of the day? Do I need to resize the sequences in advance, or will Encore address size issues for “spill over” and create/prompt for a new disk creation?
So glad to be a creative cow. Moo.
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Well since the onboard mic is stereo, shouldn’t there be at least three channels? Also, I would prefer to have access over mixing the onboard with the input from the mixer. Right now what I have is basically two, identical audio tracks. I can adjust levels and pan, but it makes no difference (since they are the same) .
Thanks -
Hmm. That is an interesting approach. Unfortunately the purpose of using the PPTs is to leverage the large collection of material that is already built, otherwise I would have just built all this (graphics) in a seperate TL and triggered the motion myself.
The client is very comfortable in presentation settings, and goes unscripted, using PPT as a sort of cue card. So the idea is too retain that PPT UI/UX.
Today we are going to see if he can just do it in reverse, and order the video converter.
Thanks for the suggestion though.
Eric -
Yeah, I figured this was the painful option! Thanks for the info on the VGA adapter I am going to look into that and probably go with that option going forward.
Unfortunately the slides have multiple motion builds, not yet sure how to handle these.
Thanks again,
Eric -
Did anyone figure this out? I am running into the same problem. Recently switched to FCP7 and all the sudden all my PNGs come into the timeline with white BGs instead of transparent.
I am baffled.
Thanks in advance. -
Thanks for the input. Unfortunately I am going to have to restructure the folder system anyway, so I will have to reconnect all the associated files. (Good practice for the Jr editor.) So long as all the render files will still work and the FCP files will retain all the motion, audio key frames, etc. we should be okay. Someone mentioned in passing that since the PPC and Intel drives had different file structures I couldn’t simply swap the HDD into a bay, but if it is just a c&p procedure should be alright.
Thanks again,
Eric -
Actually, HVX200 in very good condition, with P2 cards can be had on eBay for $700. Here is a link to an auction that just closed.
https://www.ebay.com/itm/130802686220?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649
I know this because I have two of these cameras, and a lot of gear to go with them (DOF adapter, P2 Store, FS-100). I follow the price as a habit.
Despite the fact that the price of the camera has gone down, I think that this camera has a lot of life. In a controlled lighting situation, with good lenses, it delivers a look that will satisfy most of my commercial clients.
As an independent producer working on mostly web destined content, I do a lot of green screen, and staged video in the studio, and the HVX delivers a great image under proper lighting. Outside of the studio, the HVX is well built and capable, but I had to upgrade to an AF100. I appreciate the form factor of the HVX, even if it have a useless miniDV build (SD only,really?), I appreciate that I can now get cheap p2 (which is built to last).
Unless you are working at a higher commercial level, I think it is a great, cheap camera. When you get the client that can pay you, get an AF100, or one of the newer Sony cams (but if you were in that range, you wouldn’t be asking about the HVX). About 18 months ago, I bought a 5d MarkII because clients asked for it. I don’t really like it as a shooter, but it is “all the rage” right now, so I can make money with it. I plan on upgrading to a 4K cam/RED when I can land a few big fish.
Good luck in your decision.
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Dave, you are always good for a quick answer. Thanks.
But… According to the client, Flash is a four letter word, since distribution is expected to include iPad/iPhone, and third party hosting. I wound up going with Camtasia:Mac, which allows for “clickable hotspots”in export. Downloaded the product, then got sucked off into afternoon conf. calls. Will post my opinion of the final result when I see it. -
For what it’s worth, I prefer many small cards to one large card. I also keep a few beat up 4GB cards in my bag. You can find small cards in groups on ebay, and since media capture switches between cards without a glitch (as one fills up the other starts with no dropped frames), I think that it works well to keep swapping them out.
Of course, it a card is lost, or destroyed in the field, it is a smaller loss, both financially and potentially of the footage on it.
Just my thoughts…
Eric
Seattle