John Satre
Forum Replies Created
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That’s something I’ve done in the past with tapes that had very erratic timecode, but now that drives are so cheap I don’t think it’s worth it to do this anymore. I would also have to find a second deck and wait for the entire tape to dub.
Capturing the whole tape isn’t so bad now that storage is about 10 cents a gig, but I’ll have to switch to prores hq. I would still rather capture from the original tape, but it can’t deal with those breaks without me babysitting it.
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I’m capturing footage from a dbeta as uncompressed through sdi using decklink for those wondering. Make new clip on timecode break is no help because my clips don’t span the breaks, they are just in between them. I’m considering capturing the whole tape without timecode and then logging that huge quicktime instead, I don’t want to keep waiting for little sets of captures every 10 mins of footage…
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A 170 would be ideal, in fact I’d rather shoot with a 170 than the hvx200 and it’s on the list of things to buy when more funding comes through, but the camera we’re looking for needs to be cheap and small. The HV30 costs less than taking a varicam out for a day, and it’s just a consumer camcorder so it’s tiny. The idea of a 170 or hmc150 is very tempting though…
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I guess a way to explain it’s use would be that it isn’t so much for B-Roll on commercial shoots but rather more of an emergency camera while shooting scenes for a documentary that couldn’t be reshot. Or if it happens that a second camera is necessary but no time to get one, this could become the second camera.
Another scenario would be if a producer is heading somewhere and needs to take a small camera just in case. If something happens it can be filmed with onboard mic and although not ideal, we have the option of trying to use it.
In terms of how the HVX is set up the only constant is that it’s shooting 720 24p, any other setting is likely to change.
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i know, i have a couple older projects that i’ve correceted that look amazing on any professional display, but look really horrible on many consumer televisions, especially the cheap ones. now i correct with both a professional monitor and a cheap television attached, it works out for the best. but this screen will be only for editing/playback, not color correction.
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yes, i was just talking about monitoring from a consumer hd television. it’s mostly so i can play through stuff and view it on a screen, rather than the tiny viewer on my laptop, not so much for color work. i just wasn’t sure if it would work if i just plugged it in to the macbook pro’s dvi port.
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i should have clarified:
to make it simple, there will actually be only 2 computers working on the project. and they aren’t in the same facility. in fact, they aren’t in the same city. the main computer has captured all of the footage, and the second computer will have a copy of all this footage. no sharing necessary.
what i am trying to do is set up 10 sequences, and computer 1 will work on sequences 1-5 while computer 2 works on 6-10. then they will swap to have another round of edits, so computer 1 will revise sequences 6-10, coputer 2 will do sequences 1-5.
in the end, computer 1 should have the most recent edits of all the sequences in order to put it all together. i guess the way i was planning on doing is having 2 project files to pass back and forth, one with sequences 1-5 and the second with sequences 6-10. i would drag all the sequences into a final project at the end. i don’t know if there’s a better way to do this, or if that will even work….
it seems as if even my more basic projects become disorganized, and i am worried about this becoming the mother of all nightmares…