Jerry Hofmann
Forum Replies Created
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Fraid not… but you could copy and paste between a text document and those fields.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Then they don’t know HD. HDV is NOT HD. it’s HDV. Better than DV but no where near what you get from a Varicam or a Sony 950… not even close. It’s a consumer format end of story…My students are shooting a lot of HDV, and I gotta say, it basically stinks in post unless you have a way to monitor it (not cheap), and compressing it for an SD DVD is really a bunch of bull to get it to look OK. cripes, people are posting around that you have to recapture it as DV then compress for best results. SHESSH!!!! I’m hoping this isn’t the case… In case you haven’t caught my drift: I Don’t like HDV.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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“If your client is shooting in HD, why not edit the spot in HD to begin with an then they can have both an HD master and an SD master protected the way they want. Either through Letterbox or your own Center cut.”
Because they want to keep all the media online, are not willing to pay for more storage space than SD costs (using G-Raids for this and they ROCK”… Cheap now, will recapture in HD when they need it. AND charge them of course!
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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First thing I’d try is speeding up the audio all by itself… This is sound sync sound tied to a video track, right?
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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I’m lucky enough to have my mixes come to me all done, but there should be no reason whatsoever that your idea would give you any problems.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Put them in startup disk/Library/application support/Livetype folder.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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I’m cutting them in SD… the client is shooting HD so they’ll have “legs”… I’ll bet a lot of this is going on. If you make them HD, you’d have to take into consideration the fact that most TV sets are 4:3, and the downconversion the station would do for SD broadcast most likely will just crop the outsides to fill the screen… right? Or do you suppose they’d letterbox them? (in my case the client wouldn’t like that).
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Don’t know if that is causing the problem, but the huge project file size is probably part of the problem… If it were me I’d break down the big project file into smaller ones as you have suggested for the next set of projects. Just take the songs and put them in new project files… don’t know how many you have, but you probably can put more than one in a single project file. Then create a “master” sequence project file to marry them all into a single sequence if you have to have them that way. Idea here is to start working NOW with smaller project files. 300MB+ files are really huge and must be making demands on the system you probably want to avoid.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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You’ve blacked the tape for the insert or have video on either end of it right? If so I’d think that the RS-422 should work the best here, and you should set your device control setting to be the Kona Sony VTR A or B… you’ll need to check accuracy of the timecode to adjust the device control setting and determine how playback is accurate. This is best done with a window burn tape whose burn matches the TC on it’s TC track… The Kona Sony RS-422 sets the TC read to be LTC as it’s stock preset, but I’ve found better results to set that setting to be LTC+VITC with analog machines, might try that for the Panasonic too.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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What version of Motion, FCP, and OS are you running together?
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D