[Jeff Carpenter]

You got it. The file should be fine, it just can’t be opened there.

If you REALLY have to get it in there, search the archives on the subject. It involves exporting EDLs and re-creating the project in version 4. It’s a lot of work unless you really need to open it on that particular machine.

[Jeff Carpenter]

I figure I could move all the media and then do a massive reconnect session to link up the files to the projects
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That should be fine. Move everything and then un-hook the old drive before starting Final Cut.

If everything is moved together you should only have to re-connect one file for each project. Once Final Cut sees that file it should find everything else instantly. So for 7 projects you’d have to locate 7 files…one each time you open a project. Shouldn’t take too long.

And you’ve still got the old drive if something goes wrong. If that doesn’t work out, erase the new drive and try something different.

But I don’t think it will be a big deal.

[Jeff Carpenter]

When I hear people say “I’ll work for free” I’ve learned that it REALLY means “I need the chance to observe, please don’t put too much responsibility on me too quickly!”

That’s a very good position to take, but it doesn’t mean you can’t earn a little money while you’re doing it!

Good luck!

[Jeff Carpenter]

When dubbing from Digital to Analog, play the tone on the digital tape and set the analog deck to “0”

When dubbing from Analog to Diital, play the tone on the analog tape and set the digital deck to “-12”

The probem with the tapes you’re getting from the dub houses…I’m not fully understanding it but it sounds like THEY’RE doing something wrong. The whole point of tone is that it should make everything rigth once you calibrate it…it sounds like their tone and their program doesn’t match which means that isn’t something you’re doing wrong.

[Jeff Carpenter]

Thanks for updating us!

Good to know, I don’t know if I would have ever thought of that.

[Jeff Carpenter]

You can think of digital audio exactly like you did analog. The only difference is that what you usd to call “0” you now call… “?”

That’s the confusing part. “?” can really be any number from -24 to -6. Take your pick! It’s all up to you or your clients.

But for the sake of example, lets pick -12. That’s a reasonable choice. Having decided on -12 as your “new 0” here’s what you’d do:

In editing you’d be trying to keep most sounds in the -16 to -12 range. Quiet sounds can go lower, of course, and loud sounds can go up to -6 if you really need to. I wouldn’t let anything go higher than that.

Then, when going back to tape, set your tone to -12 and you’re good to go. If anyone makes an analog dub of this program and sets the tone to “0” they’ll find most of your program comes right up to “0” and that it sometimes goes over just a little. In other words, it should dub just fine.

That’s really all you need to know about how to make it work. But what about other numbers? Why pick something other than -12? Well, if you were mixing a live TV show that might be a little too close to the dreaded digital-zero on the top of the scale. In a TV studio they might set tone at -18 and try to stick tot that. THEIR “loud” peaks would only go up to -12, giving them bit more room to be safe. Since you’re editing ou don’t need that safety zone so you might pick -12. Or something in between.

Picking what level to master at can change, but the general idea never does: Pick a number and then treat that number as “analog zero” for the rest of your project.

[Jeff Carpenter]

Thanks for the advice fellas. Maybe I am going about it all wrong. My intention was to do a few shoots for free, maybe 2 or 3. Just to get some material for my portfolio. But you recommend just charging right off the bat?

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You should charge, but the key is in what kind of work to look for. Don’t offer to bring your own gear or anything at first…look for people who just need help carrying stuff or setting up tripods.

In other words, don’t try to call a guy with 1 camera and offer to bring your own camera and do half his shoot for him your first time out. Find some place that offers big packages…the kind of place that would have 2 of their own shooters and would bring you along as a 3rd person…someone to carry bags and set up tripods.

THAT can be your 2 or 3 jobs to get into the hang of things. You KNOW how to shoot already, what you need is just get into a wedding and observe the timing and workflow. Use the time to learn the things you don’t know. You know how to use a camera but watch WHERE they set up, WHAT they focus on, and HOW they work their way around an event.

You should be able to pick up on those kinds of things very quickly, but it’s very important to see it all work out in front of you. You don’t want your first wedding to be something where you’re in charge of getting shots. Put yourself in a more passive role and treat the whole day as a classroom.

[Jeff Carpenter]

I think your problem with the iMac was the storage space. FW 400 is so-so for this kind of thing and USB is going to be pretty bad even for DV video.

The new 24″ iMac has a Firewire 800 port on it which could provide some relief. I can’t say for sure, I’ve not used HDV yet.

But the machine ITSELF should give a nice experience. You should ask around and find someone who does HDV on a Firewire 800 drive on some other computer. If you can find people who are happily doing that you’ll probably be ok with the 24″ iMac.

Something like the G-RAID would probably be a good choice:

https://www.g-technology.com/Products/G-RAID.cfm

[Jeff Carpenter]

What have you used in the past and what issues did you have?

It will certainly work with this computer, but it’s easier for me to compare it to something you’ve used before rather than giving it some sort of number grade.

[Jeff Carpenter]

Have you gone to the printer manufactuer’s web site and downloaded the Windows driver for that model?

I’d start with that…not sure it will fix it totally, but let us know once you’ve tried that.