Garrett Gibbons
Forum Replies Created
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I’m very happy for you! I’m also deeply concerned that Apple doesn’t seem to believe that deeply unsatisfied customers can get a refund (and that this is a one-time exception). I’ve submitted an additional refund request via the app store and I continue to wait for good news.
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We’ll keep putting pressure on them. The more of a ruckus the better.
YouTube customer service demands, anyone?
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This is so encouraging! I thought that I was the only one who had filed for a refund. Let’s hope that they get flooded with requests.
For what it’s worth, I’ve outlined the good, the bad, and the unusable in FCP X here:
https://garrettgibbons.com/blog/final-cut-pro-x-initial-response
Good luck, all. Here’s hoping for Final Cut Pro 8!
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I’ve used the Tokina 12-24 f/4 and the 11-16 f/2.8 and both are excellent, built like tanks, and have a great look to them.
Here’s a music video I shot mostly with the 12-24:
https://www.youtube.com/watch?v=-yFPj1cKpFY
The one advantage of the 12-24 over the 11-16 (besides $100 in price) is the fact that 24mm is almost usable for portraits and people, whereas 16mm is still so absurdly wide for a close-up that you need to have a very stylized look in mind. The 12-24 is therefore a bit more versatile. Both are excellent, and I prefer either over the more-expensive Canon EF-S 10-22.
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ProRes is an excellent codec in all of its varieties.
For DSLRs, you can do tests on your own to confirm what I’ve found: converting the h264 from the Canon DSLR into ProRes 422 HQ will not improve the quality of your footage. The acquired footage is so lossy that I’ve actually found that ProRes LT is the sweet spot to balance size and maintain quality from a DSLR.
If you are recording an HDMI/Composite feed straight from the camera, or if you’re working with RED or an EX3, convert to ProRes 4444 to maintain as much quality in that uncompressed signal as possible. Your 7D or 5Dii is essentially shooting JPEG video frames (meaning that the image is compressed; not MJPEG format on a Canon), and converting JPEGs to TIFF doesn’t add quality that didn’t exist before. You certainly will continue to degrade your footage if you convert to AIC or ProRes Proxy, but if the final output is SD or med-size web video, the degradation won’t be significant for some producers.
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My 2 cents:
There is a beautiful and unique quality to 11mm on a APS-C sensor (or ~18 on a full-frame). While not advisable for close-ups and glamor shots, it gives you a very dramatic look that is excellent for particular applications. Vanishing points, field of view, and of course depth of field are all enormously different on the Tokina 11-16 at 11mm than you would find on the wide end of the Canon 17-40 or 18-55.
See some examples of the 11mm at a wedding here.
Here’s a music video I shot that heavily uses the Tokina 12-24mm at 12mm.
As always, if you’re thinking about lenses, just pay $50 for a rental on borrowlenses.com or lensrentals.com. Definitely worth it!
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I’ve always heard great reviews of Avisynth. Anyone willing to vouch for Magic Bullet? “Crystal clear HD with one click!” (I wish that could happen)
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Thanks for the input, people.
The client is paying my day rate and won’t pay an extra fee for software/hardware that I don’t have in my workflow. I’d love a Kona or Matrox card but haven’t needed one in years until now. The client’s mandate is to do the best possible with what I have available.
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If the problem shows up with the exported file before you bring it into iDVD, my guess is that Compressor won’t solve it. See if you can post a link to the video and maybe that will show us some clues.
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Man, I don’t even know what iDVD does with HD footage. It might be worth it to use Compressor’s “Best Quality DVD” preset and see if it does the same thing, just to rule that out.
When you open the exported 1440×1080 file in QuickTime Player, does the text display correctly?
The place I’d look next is in the project sequence settings, though I suspect that posting a link to a short portion of the clip would be most helpful. Looking at the clip may tell a lot.