Jason Dutcher
Forum Replies Created
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Great, thanks, that did it! Cleaned it up real nice. I knew since I had good level there would be a way to dial it in. I think just from my “not so great” results back in the day of “Sound Soap” I got away from the “dial in” noise reducers and always went back to EQ combos which I usually get good results most of the time. But, for this project that STP filter works great. Thanks!
Jason Dutcher
Producer/Director
Alluneed Productions -
Nice that is what I am looking for exactly, many thanks! I am familiar with rotoscoping and know how much of a pain it can be. This looks like it will help out a lot and is exactly what I was searching for.
Thanks
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OK, Interesting topic and obviously lots of different opinions. Thought I would toss this in. I will leave the specific names of the companies and individuals out to protect the innocent.
I am of the belief the(my opinion/research) creator of the content owns the footage unless a signed agreement/contract states otherwise. With that said check this out.
A company hires me to shoot some broll footage of my city to roll in on their live broadcast. I wonder around get some nice stuff and they use it out of a live remote truck. Now that company leaves town. The tapes/footage are left behind or recycled. It was a one off thing. Here is the twist…. The tape guys in the truck clip off all the shots onto their personal reel. Then every time a new group comes into town the tape guys offer up my shots to them for use. They then go ahead and use my shots going to and from breaks. Uggh!
I have told them over and over that they(the tape ops) are infringing on my copryright as I shot the footage and it is my footage. They argue it is not mine and actually the company that hired me owns it. So, I say either way, whether mine or theirs, it is illegal for them to have and use the footage as well as the other companies. They laugh as if I do not know what I am talking about and continue to keep my footage on their reels and offer it to others for use.Normally I do not worry too much about stuff like this and consider it the price of business. But, my argument to them is that if they offer up these beautiful shots to everyone else that comes into town, then those companies will just rely on that and not hire anyone to shoot stuff for them. Ultimately I end up shooting these shots once a year in the spring and then end up seeing them the rest of the year on many different broadcasts.
My experience is not alone. I know for a fact that in my circle of broadcast the happens daily around the country to many people. Standard practice by live remote truck tape operators.
Thats my story, not sure what I can do about it though. I tried to contact copyright infringment people and they basically said I have to sue to get any results. Which would mean if I did that it would be the old saying
“you’ll never work in this town again”If anyone wants to respond to this or has some thoughts, I would love to hear them…Thanks!
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But, does anybody have any data on expected lifespan of a card? Or of flash media in general? Does it dissolve over time? Can the silicon melt? I am sure at a high enough temp, but what if it is left in a hot car? Would that affect it? Again, just curious if anyone has more insight on this or personal experience?
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Yeah, thats exactly wha I mean….this type of acquisition seems pretty foolproof
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I was told by the Manufacturer themselves the the Kona 3 card does in fact help the rendering of effects in FCP and provides more realtime. They said none of the other cards do much, but the Kona 3 does quite a bit. Were they speaking the truth? Or just a sales pitch?
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If I can jump in here with a question please. I may be doing a 2 day shoot with the HVX next month. I have not used it before. It will be longer form takes ranging in the 15-20 min variety. So the 8Gb cards may be a bit small, so I was going to use the Firestore to capture and then transfer to an external drive. But, am I seeing here Joerg that you go directly from the HVX and into the powerbook and then out to an external drive? Most of our setups will be stationary so a cable running from the camera to a laptop would not be too bad.
Anyway, wondering what my best option for capturing would be in this case? Firestore and then transfer? P2 card and hot swap/transfer? Or direct line out to laptop, then to external drive? Or can I just hook up any external FW drive without the laptop?Thanks!!!
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This may be a dumb question.
What if I capture in DVCpro HD and then export as uncompressed 1080i 10bit 4.2.2, am I just asking for trouble there? My client has asked for an uncompressed QT movie, but we would like to edit in DVCproHD. Can we do this and still have an acceptable result? I will run some tests and show the client a sample, but was wondering if you all had some insight? Or suggestions on workflow?
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Sweeeeet! I just did a test and that worked…almost! I see the video clips cutting and the clip edit markers are on top of the timeline and I see the cuts happening in my canvas, but when I pause the markers go away and no cuts have been made to the timeline???? What am I missing here. I know you said you are not a pro at multiclip but maybe someone who is can help here with a suggestion?
Thanks Walter, big help here, the uncompressed 10bit 4.2.2 may just be too much to deal with right now and If I can convince my people to accept DVCproHD as the standard that will save me a lot of time!
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Thanks for the quick response, I really appreciate it!
So to clarify, I should digitize in DVCpro HD 1080i and that will allow me to use multiclip? That will be a small enough file/codec with my set up? How many cameras do you think I could cut “live” with this setting?
Then after I have finished the project edit and color correcting, I re-digitize the sequence in uncompressed 10bit 4.2.2. I will only have to re-digitize the “actual footage used” and not the whole clip correct?With the DVCpro HD 1080i codec how much “loss will there be? A lot of would I just be better off encoding, editing and the outputting in this codec anyway?
Thanks!