Gary Hazen
Forum Replies Created
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Avid did a survey a while back and determined that nearly 100% of the users wanted to hear the audio that was on the timeline rather than the audio playing in the browser. They put out some release notes that said if you wanted to listen to music while editing you had 3 options: use a radio, an ipod or hire a small band (3 or 4 piece depending on the size of your edit suite).
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Do you think I’m OK with the HVR-15U as a record deck via FW (DV-CAM) and capture to FCP in place of the DSR-1500a?
Where is the firewire coming from? The Barco ImagePro doesn’t appear to have FW out. You could feed S-video out of the ImagePro into the HVR-15U.
Do you have a recommendation for a 3 camera HD shoot with the kind of workflow I’ve outlined (Camera’s/Switcher/Deck)?
If you’re trying to save money by using a HVR-15U instead of DSR-1500, it’s likely that the sticker shock for a full HD show might cause cardiac arrest. Everything in the signal chain has to be upgraded: the cameras, the glass, cables, switcher, scopes, monitors, etc. Because of the prohibitive cost very few corporate events are utilizing HD at this time. If you want to do the research in preparation for the day that your client asks for HD – then get the pricing info from your staging company.
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” You did not bother to read any of the posts on this very forum.” – Bob Zelin
Bob it’s evident that you don’t read some of the posts in this forum either. Here’s Christy’s second post in this thread:
“I’m actually specifically talking about LEGALS. The fine print that lives on certain commercials that generally deal with banking and communication services.” – Christy P.
Somehow you managed to ramble on for 3 paragraphs without mentioning anything about her specific question. Because you’re an engineer an not a content creator you don’t understand some of the terminology used in the post suite. The term “legals” in the post suite refers to disclaimer text that has a minimum height and must be on the screen for a certain amount of time. Christy even clarified her use of the term “Legals” in her second post. The phrase “broadcast legal” means that the technical requirements of the broadcaster airing the spot. You know, the stuff that you rage on and on about here on a regular basis. The issue here is about semantics – Christy used the term “legals” and you misunderstood. There are plenty of times that lazy people post stupid questions. And they deserve the full on Zelin Rage Machine. But in this case I think you got bent out of shape for all the wrong reasons.
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“The HVR input would have to be composite as this is the only input on the HVR M-15U that can also go through a live production switcher” -R.G.
I’m not sure why Sony put a composite input on the back of that deck. The image on Sony’s page shows a composite input. However the specs indicate: Composite Input NA. If the composite input worked it would only be used for DVCAM recording.
https://pro.sony.com/bbsc/ssr/product-HVRM15AU/
The only way to get HDV into the deck is via Firewire. You already know that using Firewire over long distances, such as live events, doesn’t work very well. These consumer HDV cameras are quite a bargain, but they aren’t designed for live event multi-cam production. I don’t think there’s anything wrong with your current workflow. I would shoot/record everything full height anamorphic if possible. This yields better results if you need to upconvert to HD. If your clients start demanding HD production then budget accordingly.
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“If I give someone a demo on BD-R, I can not be sure it will play in a standalone player or pc for a number of possible reasons. ” -J.H.
It’s been a long time, but the early days of DVD were exactly the same. You would burn a disk, send it over to the client and hope that it would play. After a few years the process got ironed out and you didn’t have to worry so much about playback issues. This time around I’m hoping that by the time BluRay gains widespread acceptance the authoring kinks will be worked out already.
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The only time I had to adhere to a specific scan line size was for political spots. The text had to be 20 scan lines in standard definition. This spec is set on a state by state basis. I think in other states it ranges from 18 – 22. There isn’t a one size fits all answer. For clarification in your state contact your local broadcaster or perhaps the state film commission. HD? I don’t know, I haven’t done any HD political ads.
Regarding non-political spots I’ve never heard of specific rules for scan line height on disclaimers. I’ve never had a spot kicked back because the disclaimer was too small.
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Here are a few reasons your having a tough go of this:
– The good motion designers are too busy working to respond to your inquiry.
– The job has very little appeal. Churn out a bunch of templates. Yuk.
– Your expectations are unclear. How many templates per month do you expect from the designer.
– Because of the cheap cost of the software and a wealth of tutorials the planet now has far too many self proclaimed motion designers. “”Hey look at this tutorial I did! I got mad skillz”!” Honestly, I thought the 500 replies number was low.
– Some designers might have issues with the undermining their own industry. Why should companies hire a designer when you can just go download a template?There are a ton of free AE projects and tutes out there. I’m not sure a business model based on selling AE projects can sustain itself. I could be wrong.
just my opinion.
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The Teranex mini does an outstanding job of upconverting.
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Unmult and Xmult are free plugins that will generate an alpha from footage on a black background.