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Jake Diamond
December 19, 2013 at 2:43 am in reply to: Projecting ProRes quicktime from a laptop

Thanks again Todd – very helpful. I’ll try H.264 and see what I get for quality.

Jake
Jake Diamond
December 19, 2013 at 12:13 am in reply to: Projecting ProRes quicktime from a laptop

Thanks Todd! I tried playing it in Quciktime off an external Lacie Rugged drive and it lagged and stuttered. Is there a different/faster firewire drive I could get that might help? Or would a newer macbook help?

Thank you again,

Jake
Jake Diamond
August 29, 2013 at 2:16 pm in reply to: Outline text with image filling text

John,

Duplicating the text and turning the stroke on worked. Problem solved.

Thank you!

Jake
Jake Diamond
May 30, 2011 at 12:42 am in reply to: A.E. (CS4) to Scratch workflow

Walter,

Thank you very much. It’s all becoming a little clearer.

Jake
Jake Diamond
May 17, 2011 at 6:54 pm in reply to: 4444 vs. HQ for green screen

Understood. Thanks.
Jake Diamond
May 17, 2011 at 2:03 am in reply to: 4444 vs. HQ for green screen

[Jake Diamond]I will be cutting a 30 second spot shot on the RED camera, with the final delivery being HDCAM SR for broadcast. I am told there will be no time to go back to the original red files (very fast turnaround), so the files will be transcoded to Pro Res HQ. “Will doing green screen work on HQ clips work well enough? “

[Shane Ross] Absolutely. Coming from RED…even more absolutely. Unless you will be outputting 4:4:4 to HDCAM SR, going to 4444 ProRes makes little sense.

Shane

So now after transcoding to Pro Res HQ and everything’s great, I’m told they want to do a color correct on the original RED files. Apparently some miscommunication between director/producer.

Hopefully, my last two questions:

The transcoded pro res files have the same name as the RED files. Can I edit with the pro res footage, and make an XML from final cut that will be used for a scratch system that will match up with the original files?

Second, I need to do some green screen work and a few other VFX shots in After Effects. What’s the workflow for this? Can I give the Online Editor my finished AE project and he’ll replace the pro res footage with the red footage in the comps?

Thank you again for all your help.

Jake
Jake Diamond
May 12, 2011 at 12:15 am in reply to: 4444 vs. HQ for green screen

Thanks Shane. Very helpful.

[Shane Ross] “I love this. CLASSIC example of the situation we are faced with today. They will go out and shoot on a RED camera…go all HIGH END on the production side, but then in post…skimp. Use FireWire drives for media storage of ProRes HQ and 4444. That’s just wrong. eSATA MINIMUM…MiniSAS and Fibre and GigE Ethernet people! Post isn’t an afterthought! (This is directed at your bosses, not you).”

Yea, I know. Mind boggling to me as well. I didn’t think anyone used firewire drives anymore. Thank you again.
Jake Diamond
January 22, 2011 at 9:22 pm in reply to: Mixed codecs workflow question on FCP 6.06

“Normally you can mix most things (codecs, sizes) on a FC sequence. Mixing different time-bases y where FC doesn’t shine at all.”

Thanks Rafael – very helpful.

Jake
Jake Diamond
January 22, 2011 at 8:42 pm in reply to: Mixed codecs workflow question on FCP 6.06

Thanks so much Rafael. The 1080 Pro Res I converted the D7 material to, will that play in a 720 timeline?
Jake Diamond
July 13, 2010 at 11:36 pm in reply to: Audio Crackles from FCP 7 through Kona Card

Thanks to everyone for your help! Yes, reinstalling 7.5.1 fixed it.

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