Jeremy Doyle
Forum Replies Created
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It says I’m all up to date.
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You are correct about the DF vs. NDF. If I load any clip from the bin it miraculously shows up as NDF. I can actually make any of the clips in my bin do that, it just happens that I have this one selected for the screen grab. It’s not just this one clip.
All the stuff was shot NDF so I don’t know why it is showing up as DF in Premiere.
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I use my wife’s 13″ macbook pro core 2 duo with 4 gb ram every now and then. It works fine with a firewire 800 drive. Cuts only in Pro Res and HDV are no problem. I’ve finished a couple of projects on it, but it takes forever to render and I’ve only done it in a pinch.
It certainly is nothing compared to my Mac Pro, but it beats the pants off my old G4 that I cut DVCPRO HD footage with on FCP 4.5 when I made the jump to HD.
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This is what I do for projects that I work on at both home and the office. I have an 2 arrays both with same name. 1 at home an 1 at the office. Both arrays have the same media and file structure. I then keep my project in my dropbox account which automatically syncs the file on both computers plus keeps a copy on “the cloud”.
You’ll have to rerender when switching computers, but everything else will stay the same. If you create a new graphic in AE or photoshop, then you’ll have to transfer those new files via thumb drive or, depending on size, dropbox and put them in the proper file structure of other array.
It’s not perfect, but works pretty darn good.
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[Mark Raudonis] “Yep. I said that. I also added, save “mobile-ly”… meaning to a USB thumb drive, as an extra added measure of protection. Locally. Globally. Mobile-ly and you won’t go wrong.”
One quick tip related to this. If you’re a dropbox user and you keep projects stored there, then you don’t have to worry about carrying around a thumb drive. I have an array at home that is named the same as my array at work. As long as I have the “media” in both places, I can work on my current project either place and not have to worry about forgetting to bring my thumb drive with me. It also gives me three current copies of my project file. One at work, one at home, and one in the cloud.
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It became free last week because the developers joined the Adobe team and they will no longer be supporting or developing automatic duck.
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[Steve Eisen] “Use the Turbo.264HD (HD version). $99”
That version is intel mac only and will not work with a G5.
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I have a 6 year old dual 2.3 G5 that I use at home and all I can say it that Elgato Turbo.264 USB device that I paid $75 bucks for has been done wonders for making on-line approvals and quick h.264 compressions that I have needed. Almost real-time conversations, which is amazing on a G5.
The trick is finding an older model Elgato that will work with a G5. And the G5 version only creates SD frame sizes so if you need HD web files, your best bet is a new computer.
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$400 is too much for that computer. It will run FCP, DVD SP, and Soundtrack just fine, but color and motion will be iffy at best.
Obviously it is a really slow machine by today’s standards so rendering will take forever. For cuts only editing you’d be fine.
I wouldn’t spend more than $200 on this. Saving for a Mac Pro would be much, much better as G5 1.8 is probably 7 or 8 year old tech now. Even a 1st gen Mac Pro is almost 5 years old.
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I’ve done this hundreds of times when using archival footage on TV. There is no magic formula that I have found. In fact, the brightness of the scene can change just how much opacity or blur I use.
I say you’re on the right track and adjust to taste.
On the opposite side of this subject, I can’t tell you how many shots that look great in an HD frame get screwed up by a networks center cut SD version.
As far as I’m concerned, there are no standards anymore. Just give people the specs they ask for.