[Greg Nosaty]

Thanks Aaron

What I’m really I’m looking for a book or PDF not comments. I want something that I can pass on to new assistants, PA’s and the like who ask me these kinds of questions every day.

[Aaron Neitz] “2)98% of 24p media is actually 23.976 media, and 98% of workflows should conform to that. DF and NDF are simply counting methods. They don’t affect the amount of frames “

But they definitely effect the amount of time!

cheers,
Greg Nosaty

Cinemontage Productions Inc

[Greg Nosaty]

Thanks Steve that’s a very useful chart. It’s not everything I’m looking for but it will come in handy.

I thought that Gary Adcock was working on a White Paper kinda document about testing codecs an whatnot…

cheers,
Greg Nosaty

Cinemontage Productions Inc

[Greg Nosaty]

sorry I meant 1280 x 720

cheers,
Greg Nosaty

Cinemontage Productions Inc

[Greg Nosaty]

Shane, thanks for the link to Phil Hodgetts.

Here is graphics questions to go with the anamorphic HD formats. Say you were going to make graphics for a project shot in HDV would you work in 1440×1080 rectangular pixels or 1920×1080 square pixels? Or a DVCPro 720p project would you work in 960 x 720 rectangular pixels or 1080 x 720 square pixels? Presuming we are importing and editing in FCP.

cheers,
Greg Nosaty

Cinemontage Productions Inc

[Greg Nosaty]

How about “motion graphics translator”

cheers,
Greg Nosaty

Cinemontage Productions Inc

[Greg Nosaty]

It’s good to hear something positive about FCS3.

I haven’t tried Color since it was Final Touch. I never even opened the app in FCS2 because my colleagues warned me that it was so jam packed with issues for long format projects. I guess it’s time to try it again.

cheers,
Greg Nosaty

Cinemontage Productions Inc

[Greg Nosaty]

Jan be warned, makers only stay in sync with your timeline if you insert, overwrite or delete. If you click and drag clips of varying lengths around the sequence the marker don’t stay in sync.

cheers,
Greg Nosaty

Cinemontage Productions Inc

[Greg Nosaty]

My guess is Apple will release something like “FCP Extreme” with Snow Leoprd. A new suite that will be 64bit 4:4:4 to appeal to the HD feature market. With improvements like a Shake style compositor instead of Motion. Maybe even a Bluray authoring tool to replace DVDSP. Or how about including Logic instead of STP.

cheers,
Greg Nosaty

Cinemontage Productions Inc

[Greg Nosaty]

There are many things in this upgrade that would improve my workflow. The problem is that many of them do not work as advertised. Such as: AVC-I is not actually native, markers do not stay in place if clips are “moved” around the timeline it only works if you edit clips to the timeline.

These are the types of things that many users find frustrating. Apple over promises and under delivers and that is not a good business practice.

cheers,
Greg Nosaty

Cinemontage Productions Inc

[Greg Nosaty]

I want to try proxies so that I begin editing on my laptop while I\’m on the road shooting. I\’m directing a doc series the uses green screen interviews. I can\’t send rough cuts to my broadcaster without have temp backgrounds in place.

My normal workflow is to work in DVCPro 720p and do rough comps in FCP using the Keylight plugin. It does an amazing job with almost no effort. Once the shows are locked we export all the elements to After Effects to have better control over the final comps with Keylight.

cheers,
Greg Nosaty

Cinemontage Productions Inc