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  • Another practice I’ve adopted gives a little extra assurance. When I return from a shoot, I copy the BPAV folders to my backup drive. I then copy those to the media RAID. I use the files on the RAID to import into FCP. That way, I know that the files on the backup drive are good without having to check. Only then do I erase the SDHC cards, but even then only when I need the cards for a shoot.

    Transcend 16GB cards are the only ones I’ll use. I only buy them direct from Transcend.

    Ken Nicholson

  • Ken Nicholson

    August 16, 2009 at 5:53 pm in reply to: Weird ‘effect’ on effects

    Actually, upon further experimenting, I found that if I insert any filter except for one from the Stylize or Time folders between the two problem filters, the problem goes away. I guess they just don’t want to be neighbors…

    Ken Nicholson

  • Ken Nicholson

    August 16, 2009 at 5:49 pm in reply to: Weird ‘effect’ on effects

    These are filters that came with FCP. I haven’t installed any third-party effects.

    BTW, I didn’t mention in my post, these anomalies appear as soon as you apply the second filter. It’s not just there during playback. Rendering does not correct it…

    Ken Nicholson

  • Ken Nicholson

    August 15, 2009 at 10:08 pm in reply to: Weird FX bug?

    Now posted correctly in the FCP forum

    Ken Nicholson

  • Ken Nicholson

    August 9, 2009 at 12:00 am in reply to: Is the SD video production market dead?

    I think its getting there fast. And let’s first make the distinction between HD production and SD delivery. SD delivery will be around for years, just like TV stations here in Sacramento still want their spots delivered on Beta SP. And most of my clients deliverables are SD-DVDs.

    That being said, it was a no-brainer for me to go HD,using FCP ($1,000!) and a Sony EX-1 ($6,000) with SDHC cards for recording ($40/hr, if you archive them, and $0 if you don’t). No more tape, or decks, or transport disasters, or head-lapping, or just wear-and-tear… Get behind me!!

    But really, in this transitional phase, it comes down to this: The higher quality you shoot, the better the end product looks, no exceptions, no matter what format you deliver on. If that weren’t true, then TV movie-of the-week producers wouldn’t have been shooting 35mm film for over 40 years. Why then, wouldn’t you want to stand out over SD producers, and get that edge wherever you can?

    “Future-proofing” is definitely a valid point, but “Present-ass-kicking” will put more money in your pocket and raise your rep a lot quicker…

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