James Culbertson
Forum Replies Created
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[Bill Davis] ”
I bet the shelf life of DVDs is going to be at least that good.”Except a small percentage of my DVD-R archive is beginning to fail after less than 10 years. So, while some DVDs may last that long if you are lucky, I would definitely recommend redundancy, and even then assume you will lose a certain random percentage of your content.
Fortunately, I have most of this content on HD’s which I redundantly back up to other HDs.
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[Rafael Amador] “If you would have been forced to work -long time- with plain DV capturing through FW and monitoring in a TV, probably you would have learn how polish that crap in in a FC time line and you wouldn’t be saying with that superiority “DV is DV”.”
DV isn’t “poop,” but DV is still DV, and not Digibeta, much less HD. I worked with it extensively in the past. And yes you can improve it very slightly in post (or if your I/O box has the same kinds of chroma filtering and line interpolation, etc.). But as I found out repeatedly, most consumers don’t notice the difference that a post-professional can. So, it may not be polishing a turd, but it is pretty irrelevant in the real world of actual viewer perception.
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[Kevin Patrick] “Really? How can you improve on a VHS format? I was always under the impression that you can’t get more than what’s there.”
You can’t improve VHS quality (except perhaps via a bit of color corrections once it is digital). But you can avoid adding insult to injury when you capture (any analog format) to ProRes or equivalent rather than firewire/DV-codec.
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[Chris Harlan] “Actually, I think you will find–if you take the time to consult vault managers–that tape has a far better shelf life than mechanical hard disks, and is still prized as the leading archival format, at least pre-Tsunami.”
I was talking about magnetic tape. I assume you are talking about film? And if not, what magnetic tape format (including LTO) isn’t toast after 20-30 years or so?
And yes, I know that HD’s can die at any time, but what alternative other than HD archive redundancy do we have at this time other than converting back to film stock?
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[Clint Wardlow] “Now what concerns me about Apple’s direction is the ability to work in old formats (which I do a lot for aesthetic reasons)will disappear or become increasingly harder. Maybe not. I don’t know.”
Software support is the least of your worries.
I’d be more concerned about the gradual disappearance of decks and particularly the shelf life of tapes. Similarly, at some point the i/o device makers will stop supporting analog i/o I would assume.
Get them into a digital format now, because I doubt you will have a usable tape in 10-20 years.
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[David Roth Weiss] “However, to suggest that users created the drama is just patently false. Yes, users are continuing to react to the drama Apple created, but given that many businesses have been “dramatically” impacted by Apple’s move,…”
We cannot always control how we are impacted by life, but we can control (if we are aware) how we respond or react to that impact. This is the root of personal responsibility and freedom.
Apple created an impact (as any major change would), but did not create any drama, because the drama you speak of is in the response of (some) users. Human response is stimulus-based not causal; otherwise we would all react the same way, and we obviously don’t.
Another major piece of this is the ability to remember history (in this case, the historical updake of new editing and graphics tools reaching back to the advent of the Moviola). To the extent that our thinking becomes a-historical, we lose perspective, and lose control over our response-ability.
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[David Roth Weiss] “This more in line with my question, which is really asking if what FCP X offers is really in line with the drama Apple has chosen to create around it?”
Apple created software. A small group of vocal FCP users created drama around it. Most editors, producers, directors,… have barely noticed (if they have noticed at all). Some have started to use FCPX along with other editing tools, others are waiting until it develops a bit more. Same as it ever was.
Personally, I continue to follow this kind of thread because I am fascinated by the psychology of it…
But it’s starting to feel a bit pathological, like there is a need for an intervention of some kind. Have any of you considered therapy?
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So, a camera archive archives an events original media, then I guess you would have to duplicate a project only separately.
Seems easier to just duplicate the whole project plus related events, then delete the high rez transcoded media secondarily…
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Timeline history forward and back are relative to the clips you have “open in timeline” (sic). This history is cleared each time you quit FCPX. So after you open in timeline you can use timeline history back to get you back to the main timeline. Timeline history forward will take you to that same clip’s timeline no matter where you have the playhead parked or what clip is selected.
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[Craig Alan] “I have been wondering for a while … if the cloud is the distribution system, what is the proper form of color correction?”
Computer monitor (with hardware color calibration puck); they are not any more variable then current HDTVs or SD NTSC monitors before them… Never The Same Color twice (NTSC), remember?