Mark Petereit
Forum Replies Created
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What’s your ultimate destination with your footage? What type of monitor are you viewing on? You do realize that the viewer in FCP does NOT accurately display your footage, right? (It can’t, and besides, that’s not its purpose.)
If you’re producing broadcast material, you need to view your footage on a broadcast monitor connected to a broadcast display card. You can’t see what you’re getting on a computer monitor connected to a computer display card.
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Your problem is not FCP. Probably the biggest reason pros hate HDV — it makes compositing a nightmare.
The first step in anyone’s HDV workflow should be to convert your footage to ProRes. Even better if you can CAPTURE straight to Prores and completely bypass HDV hell.
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Here’s the site from my bookmarks that got me going.
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I distribute renders to the 15 Macs on our network all the time.
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I think the best you can do is shoot 720p60, then conform in Cinema Tools to 24p. Anything slower than that and you’ll need to send your footage to Motion and utilize Optical Flow.
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I would let Automator handle the chaining. You could create a simple routine that watches a folder for your .mov to show up (i.e. the ProRes file is complete) then feeds the file back to Compressor for the H.264 compression.
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I feel an Automator script coming on…
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That was going to be my suggestion: a 24-slide Keynote presentation consisting of 1 hour of video on each slide, auto-advancing.
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They don’t put that stuff in the user manual because they assume that people already know “why” — the manual is only to direct the new user to the “how” that is particular to their piece of hardware.
I suggest you pick up an introductory book to digital videography. Even a beginners book to standard photography can help. Again, I don’t want to sound condescending, I just really feel it would be helpful for you to understand the “why” and familiarize yourself with some basic terminology.
For example, an experienced cameraman would know when someone says “aperture” it means the same thing as “iris”. They would know that it controls the amount of light allowed through the lens, and how adjusting it effects not only your exposure, but also your depth of field.
At this point in your experience, you really, REALLY want to get knowledgeable about all this stuff. It’s what separates the professionals from the amateurs.