Marco Solorio
Forum Replies Created
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Just to add that the Io boxes (namely the smaller ones) are great for remote-based editing on a Powerbook/MacBook Pro when external devices are needed in the loop (video monitors, decks, etc).
Another good example is on a chroma-key shoot. You can use a camera with a component output (say SDI) and output the live feed from the camera directly into the Io and then to the computer (as a live capture). Even on a camera that’s HDV or 4:1:1 color space, you’ll now capture at full 4:2:2 uncompressed quality. Obviously this is a huge advantage over the camera’s own tape format. Even with an HVX200 you can eliminate any compression otherwise found in the DVCPRO HD format. For chroma-keying, this is a huge advantage.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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There is a lower algorithmic computation factor to the Animation codec versus something like ProRes. ProRes requires a fair amount of CPU power where Animation requires little. This is why your renders are faster with the Animation codec.
If your adding a clip out of AE for FCP *and* you intend on further stacking layers to that AE clip in FCP (e.g., adding text and such on top of it), then I would absolutely render out of AE using an RGB[A] 4:4:4:[4] lossless codec, like Animation, PNG, SheerVideo or Microcosm. This is so your AE clip maintains its RGB lossless quality on the timeline and allows FCP to perform the final Y’CrCb color space compression at the very last step.
With that in mind, it doesn’t matter which hardware you want to use. If you’re trying to decide between Kona 3 and HDio, I’d choose based on editing workflow needs rather than rendering needs.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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[zrb123] “Even if you do back up oh a hard drive, would still back up the project, graphic files, music and other small assets, to a CD/DVD.”
Absoutely. We do this as well which I didn’t mention. We have those 400-disk binders to hold the DVD disks. It’s sort of our “redundant” backup for the archive, LOL.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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We used to charge for the archival of projects, but since the dawn of cheap drives (exactly as David mentions above), we’ve just included it in our added-value services. Not only can we go back to a project later on if we need to revisit it, it’s also nice just for us in case we need to pull something out of an old project for a demo piece or something.
And I also agree… death to tape archiving. At a hundred bucks a pop for a 500 GB drive on any system, it’s just a no-brainer. We archive it and we put the drive away. It’s not used in any real production for it to get worn down.
If a client is spending five figures on a project with us, I think we can sacrifice $100 on an archive drive! We can usually fit several projects on a single drive, so realistically, we’re talking about $5 to $30 per project to count towards the purchase of that drive. So even a low budget project will get placed on the archive drives. It costs us practically nothing and the clients love that we have their old projects on tap for them.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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[msacci] “NTSC SD is always lower first”
This isn’t always true. Some systems use UFF and some use LFF. You need to know which NLE system you’re working on, its field order and go from there.
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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I agree with the above posts… if you have the time and the true desire then I’d definitely go for learning 3D to add to your marketable skill set. However (again, as mentioned above), I’d first learn a 2D-based motion graphics app first, whether it be AE, Motion or whatever. Learning something like AE (and learning it well) is a perfect interim before jumping into the realm of 3D. Plus when you know AE well enough, there are ways to “fake” 3D in AE and get the job done faster than had you originally done it in a 3D app. Getting into the real meat of 3D modeling and animation can be a highly technical adventure, much more so than 2D applications.
I’ve been using Lighwave 3D for over 10 years now, although I’ve been involved with 3D apps for longer than that. When I’m editing a video and motion graphics are involved, it’s good to know which process will produce the end result fastest and/or the best quality, whether it be directly in the editing timeline with plugins, going out to AE/Shake/Motion or going out to Lightwave or some of the other 3D tools we use.
Sometimes it’s not about marketable skill sets to win projects as it is skills set to simply get the job done as best and as quickly as you can do it. Knowing advanced 2D and 3D will help do this for you!
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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[zrb123] “I love how that one seems to have a sushi bar on one end.”
Yeah, when a new client comes into the edit suite, they want to reach out a scarf a piece down. Luckily the “repeat customers” know better! 😉
BTW, I still love this darn console as much as the day I got it in. I wouldn’t change a single thing in my review and it’s been a couple of years now.
Marco Solorio | OneRiver Media
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[Timothy J. Allen] “I wonder though, would you do it if it was for Kraft Cheese? (They are owned by Phillip Morris – last time I checked.)”
It’s funny you mention that. I was going to mention something along those lines as well. I had a girlfriend that used to work for Kraft yet she despised Philip Morris (her father died with the help if cigarettes and her mom’s not doing too well on them either).
Personally I’d take up a Kraft pudding spot, but I’d never accept a tobacco project. It still amazes me the tobacco industry can still get away with so much.
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I just found this thread by accident. Okay, so maybe I’m a little late for the party, but here’s some relevant info.
If you’re looking to share your media assets to clients for review and approvals, whether it’s video, audio, images or documents, you might want to look into Media Batch. It works on your website and turns it into a powerful production tool. Your clients can log into a project/client list you create, can view the files inline in their web browser, download files, upload files and much more. All user actions are tracked as well. You can add notes to each files as well as a complete approval system for each file.
One of the cool features is the Media Batch FLV Viewer. It’s timecode based and allows you to add marker points on the timeline in real-time. You can then add notes to each of those marker points as well as DRAW directly on the video image for each marker point; great for diagrams and such.
Media Batch can completely replace the whole FTP nightmare. Unlimited users and lists with no monthly fees.
Thanks,
Marco Solorio | OneRiver Media
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Wally has an excellent list of items you should consider for your studio needs… he knows his stuff, and not just cooking, LOL! The only thing I’d possibly add is a good little audio mixer. It doesn’t have to be fancy for what you’re doing, but something to control incoming audio levels into your computer and back to your deck for layback. It also makes things easy when controlling your studio monitors and such.
As you grow, you can get a larger audio mixer with greater bussing controls to allow you even more flexibility in terms of where your audio is going within the mixer itself and ultimately to your computer and/or deck(s).
Audio is a fairly large staple in my post facility and can’t stress its importance enough!
Best of luck in your endeavors! Exciting times for you I’m sure! =)
Marco Solorio