[Jeff Carpenter]

I’ve done this lots of times with DV footage and HD Apple Intermediate Codec. I was using a firewire 800 drive instead of eSATA, but it’s the same idea. Always worked fine for me.

Just make sure that ALL parts of the network (such as the router) give you gigabit speed. Test your network by copying a large file from one computer to the other. You should be getting close to 1 GB per minute. If you’re not, something’s getting in the way and preventing you from getting full speed on the network. You can check that out right now with any file.

Also, the “2 copies of Final Cut” isn’t one of those things about how “it’s the right thing.” No, this one’s for real. The second copy literally won’t launch unless it has its own serial number.

[Jeff Carpenter]

This ‘use of music’ thread gets brought up by someone every 6 months or so.

You can search the archives if you want to, but here’s the short version:

1) None of this stuff (copywritten music on DVDs, websites, etc) is legal.

2) Many, many (many) people feel comfortable doing it anyway and get away with it.

That’s pretty much it. It’s been debated forever in what seems like hundreds of posts, but it all comes down to that.

Some people are comfortable with it and some aren’t. All we can do is provide the facts. Past that, it’s up to the individual to decide what to do.

(I think most of the time the long threads come about because people are trying to convince themselves that #1 isn’t true. It is true, and realizing that makes the answer pretty short!)

[Jeff Carpenter]

I have the 5400 internal drive and I’ve captured HDV as the Apple Intermediate Codec on an external 7200 firewire drive and then edited it. Everything worked fine.

From what I can tell, the boot drive isn’t really taxed too hard for any of that. I can’t promise anything more than that as I haven’t tried it, but for using Final Cut in that way, the 5400 is fine.

I’ve heard that the battery difference between the 2 is minimal. The 7200 uses more power, but it gets the information faster so it’s spinning less than the 5400 would. It all kind of evens out in the end.

[Jeff Carpenter]

There are some DV cameras that can play back DVCAM tapes and some that don’t.

It sounds like yours “almost” plays it? Perhaps it’s made to only read it well enough to play back over the analog outputs but it’s not stable enough to give a good digital signal from it? I’m just guessing here.

These are mini-DVCAM, right? Before you spend money renting a whole DVCAM deck, look at the mid-range Sony cameras. Things like the VX-2000 (or 2100) and PD-150 (or 170) are all cameras that play back DVCAM just fine. You might be able to get ahold of one of those cheaper than you could a deck.

Otherwise, renting a DSR-11 deck should do the trick.

[Jeff Carpenter]

Go to FILE > EXPORT > QUICKTIME and pick the “Current Settings” option.

It will export a copy that uses the same codec settings as the current video. Best to keep everything as close to the original as you can.

[Jeff Carpenter]

Make sure you use the variable bit rate setting. Set it around 2 average and 4 max. Also make sure you’re making a Dolby audio compression to save space there.

Then, see what file sizes you get.

If it’s a sporting event you might barely make it. If it’s all talking heads you may find it comes in under 4 GB and you can then raise the compression and try again. For something of that length you’ll probably end up compressing 3 or 4 times, each time trying to get it as close to 4.1 GB as you can.

[Jeff Carpenter]

David,

Do they need to edit the footage, or just view it? Big difference.

If they only need to see it then just use Handbrake to create a 320×240 H.264 file directly from the DVD. Then just upload that.

Standard disclaimer: Only use Handbrake for video you have the right to transcode from DVDs.

[Jeff Carpenter]

>>if memory serves Bruce the Yak went away because FCP had to meet some governement software compliance which specified no easter eggs.

If this is true (it makes sense) then it’s a shame they didn’t comply with the rule by simply putting a page about Bruce in the manual. That would have made it ok!

[Jeff Carpenter]

Well, I use wireless mics, so I always say “Don’t worry, the receivers won’t be turned on until the procession starts.”

That’s actually true and it puts their mind at ease.

You can’t truthfully say that, but I suggest saying something like “It’s all set, we’ll be getting audio from you for the entire ceremony. Thanks.”

9 out of 10 times that will make them feel better (oh, during the ceremony? Ok!) because they’re not really thinking about it and they just want to hear something positive. Give them that and they’ll forget about it 30 seconds after you’ve left the room.

You’ll sometimes have to explain the whole thing (it’s safer this way) but I’m betting that won’t happen too often if you’re just positive and focus on the “it’s for the ceremony” line.

[Jeff Carpenter]

This brings up a broader point and a simple rule for wedding shooters: Never depend on anyone (other than your own assistant) for anything that is important.

And I don’t just mean grooms. Planners, DJs, photographers…many of them will be very helpful and offer to do things for you. That’s nice and all, but only accept that help if it’s something you can live without if it goes wrong. If it matters, you have to make sure it happens yourself.

Following this rule is hard. It makes shooting weddings way harder than it might otherwise be. But it’s the most important rule there is.