Jeff Carpenter
1
COW Coin
Forum Replies Created
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You can do a full install from the upgrade discs. You’ll need to have the seriel number for the upgrade and the number for the pervious studio package that you upgraded from. It will ask for both numbers.
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That article, boiled down, says this:
At some point in the future, the Mac Pro machines will have faster processors in them.
Forgive us if we’re not too excited over this amazing prediction. The thing with Apple rumors is they are either inacurate or un-exciting. This one is very accurate, with lots of details. Unfortunately that means it doesn’t say much in terms of predictions. I wouldn’t change any of my plans based on it.
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Ryan,
As videographers it’s our job to often come into situations with low lighting and find ways to fix that and get nice images on tape. The average bride doesn’t care how dark her church was…she still wants to see herself and the color in her flowers.
This leads us into easily forgetting that stage shows are designed by someone to look a certain way. Don’t forget that! It’s intentional! If they have made the stage look dark then it means they WANT it to look dark. It’s very possible to use some of these cameras to get an image far brighter than it looked to the human eye. As techies we applaud that, but you’ll be giving the client something they don’t want; a well-lit stage!
That being said, you’ll still have to brighten sometimes. I have done modern-dance shows in the past where the audience could see the dancers but the camera could not without using some gain. In those cases I used 6 db of gain to get an image and then brighten the high and mid-tones a little in post. The results are better than boosting lots of gain because I can leave the black levels alone and the noise is very minimal.
So in certain conditions I DO have to brighten the camera in order to match the audience’s perception. But don’t get trapped into boosting it MORE than that. In those situations I could have easily boosted the brightness a LOT more with my computer, but I didn’t do it. I tried to keep the look as close to reality as possible.
So while you’ll still need to work at this (minimal gain, boosting high and mid-tones in post) don’t start worrying that you’ll have to actual make the image BRIGHT. A little can go a long way when you’re only trying to brighten the image up to “dimly lit stage.” Remember that goal and the task isn’t as hard as you think.
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Nope. No reason at all to buy RAM from Apple.
Just make sure you buy it from a source that promises compatibility with your particular Mac and guarantees that.
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>>What are the big selling points?
= = = = =As Final Cut editors, our big deal is a true 64-bit OS. This should allow Final Cut to eventually take advantage of more RAM than it does at the moment. (Not instantly, but eventually.)
As for me, my 2 big favorite features are ‘Time Machine’ and ‘Quick Look.’
Others are excited about ‘Spaces,’ ‘iChat Screen Sharing,’ and the final version of ‘Boot Camp.’
And then there’s the updating of things like Mail and Finder and what have you and some 300 other odd little improvements.
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I would suggest making a new sequence and putting just the hand-held camera in it. Start the sequence TC to match the number of the clip’s time code. Then edit in black where the camera was off.
So, for example, if the camera was off for 5 minutes, put exactly 5 minutes of black in there, making sure the TC matches correctly when the clip starts back up again.
Then export this file as a new Quicktime file and re-import it. Use that clip as your hand-held camera in the multiclip. It’ll be like the camera opperator decided to put the lens cap on from time to time, but the sync should work out.
I’ve never done anything like this, but it seems to me that it should work.
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The usual advice is to wait until a project is finished, but in this case I’d say go ahead. You can’t hold up your life for one client who wants to drag their heels. It sounds like right now will give you the least amount of conflict, at the very least.
As for the project, when you open it after upgrading, it will turn into a FCP 6 project. This is fine if you’re not sharing it with anyone. If any other editors are using your project, they’ll need version 6 too in order to open your file.
Other than that, just follow the standard backup advice in case anything gets corrupted. But assuming everything works, you should be fine.
The one big thing to watch out for is 3rd part itmes. Have you added any filters, plug-ins, or hardware cards? Check with the makers of those things to make sure they’re happy with the new FCP or you may risk breaking them.
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You know that the connection between the deck and the monitor is fine since it displays tape playback correctly.
So the problem is between Final Cut and the Deck. What we don’t know is if this is Final Cut’s problem or the deck’s problem.
First, check the menus in the deck. Is there any kind of NTSC/PAL issue? Does it have anything related to firewire or iLink? Check any settings that mention A/V input/output.
In Final Cut, make sure that your device setup is firewire and not something else strange. Try restarting the computer with the deck connected and on. Look around at the last 3 or 4 items in FCP’s VIEW menu. Examine all of those and toggle things on and off.
Those are the ares to start with, anyway.
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It’s certainly fine to ease up on your own rules the more you get to know someone you work for. But for an out of town client, Craig’s advice is spot-on. Be extra careful with clients who know you can’t come over and knock on their door any time once they get home.
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It’s impossible to say without trying, but this is your best bet:
(The other file that downloads as an HTML file sounds like some sort of problem with the website. Get the info on the file, is it large enough to be a video file or something small like 2 KB?)