Mark Maness
Forum Replies Created
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The Panasonic HVX200 is a wonderful camera for just such a project BUT you really need to use it with a Firestore drive or a Citidisk drive. When importing the dailies into you FCP system, its paramount that you organize your media because of the naming convetions of the Panasonic camera. Editing is a real breeze but the film out needs to be discussed with your film transfer company of your choice. Each has standards that needs to be met for them to properly output your video to film.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com -
Don’t mean to throw a wrench into your plans BUT have you looked into the TerraBlock by Facilis Technology?
It works similar to the XServe RAID but it doesn’t need a server to run and its already a 4 gigabit Fibre Channel connection. It uses SATA drives. Its RAID5 capable. AND best of all, it works with Windows and Mac flawlessly. You can even connect it to a standard network so that users with Macs and PCs can access material on the TerraBlock.
If you are worried about speeds, I watched a 2k demo on one at NAB and it was incredible. Oh, yeah! Here’s another great feature! If you need more storage, you can add another without any problems what so ever. They come in any configuration up to 12TB in a single box!
I can go on and on about this. We are getting ours installed next week. I can’t wait! Here’s the site. Check it out for yourself and talk with a local dealer.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com -
Exactly, Jeremy. I didn’t forget the AJA IO but I was trying to find Dennis a low cost option for monitoring. The IO is the perfect solution to his problem but they are still about $1500 for the box in a market that is going HD, so its silly to spend that much on something that is being phased out. Now, Ebay may have cheaper prices, but I’m sure it wouldn’t be much cheaper.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com -
It looks like the XDCAM system isn’t going to output any video thru firewire. Well, have you looked into a Canopus solution to hook up so that you could see an output from FCP? Or another solution would be to connect up a second monitor to you Mac Book Pro and use it as a Desktop Preview.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com -
Have you set your input to iLink? That will make a major difference.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com -
Ok…. Here’s what you’ll have to do.
To export four channels of audio: You have to change the Sequence Settings for your timeline. Select your sequence and right click (or go to your menu at the top of the screen and select Sequence – then Settings) and select “Settings…” Next, go to the Audio Outputs tab. Change your outputs to four. Now, you have four stereo outputs. Change the Stereo to Dual Mono and you’ll get four distinct audio channels. Click on Ok to close the window. Now, you can output you timeline any which way you want excpet to DV (which is two channels at 48k).
To capture four audio channels: First, your tape must have four seperate audio channels before you can capture four seperate audio channels. Select the Easy Setup you wish to use. Some setups are ONLY two channels, so it depends on what you are using. Next, go to you menu – Final Cut Pro-Audio/Video Settings. Look under the Capture Presets tab and click on “Edit…” Depending on your capture card, it should be set to 48.000 kHz 24-bit 8-channels (the limit set by Quicktime). If it is… great! Next, go to Log and Capture under the menu – File. Once your Log and Capture window open, go to the Clip Settings tab. There you can select which audio channels to capture by clicking on the little speakers. The little button to the left is the Stereo / Dual Mono button. If you click it, it will change to which ever you want (its self explanitory). After all of this, just log and capture.
I hope this helps.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com -
[zrb123] “ita comes down to who you want to caiter your commercials to the few with 16:9 TV’s who get broadcasts in 16:9 or the majority of those who dont”
That’s true! BUT we are in a mode of transfer from SD video to HD video and if you notice the amount of programming that is edited in 16:9 now.
These are all things to consider when editing commercials. Personally, I like the 16:9 look. The main thing to keep in mind is, what does the client want and where is this commercial going to air? What we think doesn’t really matter if the client doesn’t agree. After all, they are paying us to do a project for them.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com -
Yeah, it can be used for that. BUT, for those people who have 16:9 TVs and want to watch in 16:9, they will lose this information. So I would rather use that area for a color background or just black and use the video area for my info. Besides, if you want to later uprez the commercial to HD, it will work just fine. Just something to consider.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com -
Yes! Just set your audio outputs to Dual Mono and change it to four channels.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com -
[rafalaos] “The first case (4×3>16×9) you must get it by cropping, so you have to hink when filming that any action will be missed when cropping.
With the second (16×9>4×3) the problem is not only that you will lose image by the sides. The worst is that you must blow your image up to feel the screen. And i think this is the worst can be done.
I belive that the third system is the best. You keep your film in all its integrity. The people had already got the use of watching adds in this (16×9 framed in 4×3) fashion.”I agree with Rafael. We are shooting every 16:9 and editing 16:9 but outputing 4:3 letterbox. Now with the HD revolution, you have no choice but to shoot 16:9. So, that should give you some direction in this matter.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com