[Ewan Lim]

I just need to chime in here about broadcasters. BBC might be different though…
Finance departments usually don’t approve blanket licenses. Usually single licenses.

If BBC does buy master collection to save money rather than premiere pro then I would have to send in my CV.

Ewan
Avid, FCS3, Premiere Pro, After Effects

[Ewan Lim]

Well since it is for fcp, i exported to aiff.

So each track individual to aiff.
And a low resolution mov file for him to use as a visual guide.

Ewan
Avid, FCS3, Premiere Pro, After Effects

[Ewan Lim]

I kinda ran into this problem too.

What i did was I exported each track individually. For me I had 2 tracks of dialoge, 1 track for proxy music and 1 for sfx like ambient sounds.

Hope this helps.

Ewan
Avid, FCS3, Premiere Pro, After Effects

[Ewan Lim]

Hahaha if only that was the case. I usually have it on.

Like u said, it behaves in an erratic manner. It will either turn the whites into any other color aside from white OR it just doesn’t work.

I forgot to mention that the iMac’s CS5 is an ED, electronic download while the macbook pro’s one is installed using a dvd.

If it works fine on yours then I guess i have to re-install using the DvD.

Ewan
Avid, FCS3, Premiere Pro, After Effects

[Ewan Lim]

Oops… Hahaha i am replyin thru my iphone and there isn’t a like function when it is in mobile mode.

Ewan
Avid, FCS3, Premiere Pro, After Effects

[Ewan Lim]

Chris,

I wish there was some facebook like function that i could like your post. Hahaha

Creative Cow seems to be one of the few places where there would be good, informative and funny forum reads. Also not forgetting the fact that most of the people might seem like they have no one else to talk to about these things. My girlfriend calls me an editing geek and if it weren’t for her, I’d be editing all day.

Also everyone runs into a problem and people here at the cow are very helpful when someone asks for help.

And yes, i usually end up here when i have to render stuff. Sometimes I pile on the effects and filters and make it look really good so that I have a longer rendering time. 😀

Ewan
Avid, FCS3, Premiere Pro, After Effects

[Ewan Lim]

Just a query… Isn’t there a media manage -> file renaming feature in PPro? If not then it looks like an extra edit day just to rename the files according to each episode and then re-link everything…. Either that or just export each webisode as a whole(minus the music) and edit from there if possible since it is a plonking together everything to make a half an hour show.

If it is bbc then i hope someone there turns misery bear into a full half-an-hour show. Love that bear.

Ewan
Avid, FCS3, Premiere Pro, After Effects

[Ewan Lim]

Am I a little late to advice on this? Hahaha

I have to say something since I had this problem a few years back and have nughtmare sessions with poor footage from poor cameras.

I normally wouldn’t suggest anything Sony nowadays. Although i would prefer a sony to a panasonic camera.

The few things you have to consider when getting a new cam for a docu:
Budget/Cost
How will it affect your workflow
Are you comfortable with the camera.

Cost:
Weigh out the data quality, picture quality and ease of use against the price.
Remember that if u want good audio, u might need an external mic which I would suggest going wireless. Ambient sound can be captured with the on-mic camera.
Cameras with manual functions such as WB, exposure and focus are always top choices. I know some docu people who use small cameras such as the canon XA10 or that H10 something something.

Workflow: (correct me if i am wrong)
Panasonic is P2 avc intra. Canon now is h264. mpeg2 gave me nightmares.

Comfort:
Depending on the docu, u might have to do a run and gun.

Aside from that, anything with a bit rate of 50mbps is great. Lowest you should ever go is 25mbps. Ever.

Frame rate wise, if u can get a camera which shoots at full hd 1920×1080 at 60i then go for it. Eitherway, a full HD cam with 30p is fine. They usually offer 1280×720 at 60i if they have a 1080 30p setting.

I would recommend you taking a look at canon. I used to use a sony and had quite abit of problems with it, even with the big ones so forgive me if I seem a little biased.
Panasonic would be good too but if u were to go to post with it, don’t expect magic. Also panasonic is bad with low light.

Also, take note of the grain if u are still researching on this.
Red Giant has a new denoiser plug-in which works very well. 😉

Bump me a message if u want me to rec’ a few sony or canon models for you. And your budget and needs.

Ewan
Avid, FCS3, Premiere Pro, After Effects

[Ewan Lim]

What if the engineers or programmers who were working on FCPX were brought in to believe that they were working on iMovie Pro?

Then at the last minute, marketing bursts in and says, “Hey hey hey!!! We’re gonna change the name to Final Cut Pro X!!”

With the words poisoning the air, the engineers, one by one, starts to question, “what? Why?”. Now knowing they have been bamboozled, they quickly start on coding features needed such as exporting xml and omf.

What the engineers didn’t know is that Apple has recently aqcuired a marijuana farm and marketing has been hording.

Ewan
Avid, FCS3, Premiere Pro, After Effects

[Ewan Lim]

One thing is the inability to control lighting situations unleed you whip out the app, almost dslr where you can lock focus and exposure. Either way, iPhone 4 doesn’t handle low lighting situations well… Maybe in future iPhone models.

Also well… You probably can use it on most days where you have ideal situations. Like short films or scripted shoots.

Ewan
Avid, FCS3, Premiere Pro, After Effects