Frank Nolan
Forum Replies Created
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Hope you packed lots of warm clothes. I just got back from NZ and AUS and it was a little chilly, especially in Melbourne. Have fun 🙂
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[Barry Green] “and then I fly across the gulf to Australia”
Just FYI, the gulf is actually the Tasman sea, a small body of water (almost 2000 miles across) that is part of a little bigger pond known as the Pacific Ocean. Your flight from NZ to OZ will be about 4 hours, enjoy 🙂
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This is way too deep to get into on a forum but here is a good start for you.
https://www.kenstone.net/fcp_homepage/film_digital_video_cinema_tools.html
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Well Dave,
We all know Donkey’s are a little slow, but retarded?[Donkey Dave] “the in / out points don’t match up either”
What in/out points are you talking about? What you need to do is set in points that do match up, then make your multiclip using the in points.
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I remember reading a thread a little while ago where the poster had loaded footage in off tapes in one hour chunks. Problem was they had a 10 second edited piece in FCP that had some BG noise and they wanted to export that to Soundtrack Pro to clean up the audio. When they did it would take the whole one hour file into STP and process it. Another good reason to log and capture clips.
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[Tony4x4] ” We don’t have a sound engineer and I am not a director i.e. the sound dept and the video dept don’t know what we are really doing 🙂 .”
[Tony4x4] “My question is as follows, the “sound engineer” constantly makes ajustments to his levels, which affects my input levels, which in turn affects my output levels”
At first this appears to be a contradiction but I’m guessing you mean you dont have a sound engineer in the video switching deptartment but you do at the live 40 channel console. The first thing you should do is talk to the live engineer and address the problem with him/her. Are they adjusting the master output level or is it just individual instrument levels being adjusted that is in turn affecting output. One way to avoid this problem would be to take a feed off a pre-fader aux bus on the console and just have the engineer dial in a level for each channel on that aux and leave it at that. That way whatever the engineer does with the channel faders will not affect your feed. This could cause you problems though, if all of a sudden one of the musicians cranks up their volume on stage, you’d be stuck with that level change. Another solution would be to put a compressor/limiter in the chain between the console and your switcher.
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UB function has been around for a long time on Pro gear. James correct me if I’m wrong, but the TOD isn’t frame accurate, I think it only shows HH:MM:SS in the UB, Is that correct?
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Mini dv cameras have an automatic time of day timecode stamp in the metadata. That is how the DV start/stop function detects there has been a break in the recording.
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[Mark Raudonis] “My understanding of user bits is that this is a “stamp” kind of thing… not an auxiliary TC channel.”
What he is saying Mark is that he already has TOD code on the user bits of the tape and would like to be able to “see it” in FCP. So my suggestion was to manually type in the TOD code onto the AUX timecode track of each clip within FCP. It would mean parking the play head on a frame of a clip within FCP. Then find the same frame off the same clip on the tape. Then read off the TOD code that displayed in the user bits and maually type that in, onto the Aux TC track in the FCP clip. Does that make sense?
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[Greg] “My contract says that client is responsible for all travel and transportation fees.”
[Greg] “They had bought air tickets 2 days prior to her even signing a contract”
[Greg] “She said if I couldn’t agree to that then perhaps we should call the whole thing off.”
Firstly I am not a lawyer, but if your contract was signed by her then that means she agreed to your terms. ie. client pays for travel related fees. By her saying at the last minute that she didn’t want to pay or you should pay and be re-imbursed, would mean to me that she broke the contract and you would probably have cause to sue her for the amount you were to make on the shoot. My advice would be to call a lawyer and be prepared.