Mark Raudonis
3
COW Coins
Forum Replies Created
-
Regarding the dead pixel issue: We’ve got over a hundred of the Apple 23″ cinema displays through out our building. I swear to you I’ve NEVER seen a dead pixel on ANY of them. Most are two-three years old, and run “ON” 24/7. However, we have noticed a weirdness around the edges of some… it looks like a “water stain” . But no pixel problems.
Mark
-
Yes, this monitor, assuming that it works would definitely be worth $500 bucks.
In a world where everything is going “LCD or plasma”, high quality CRTs are getting rare.
Jump on it. (But confirm that it works).
A common problem with this monitors is a red, green and blue trace line at the top of the picture.
Any competent TV repair guy should be able to repair this for about a couple of hundred bucks. So, if that’s the only problem, go for it.Mark
-
[jason banker] “If I understand you correctly, I can have 2 project files open at a time? “
As long as you’ve named the projects differently, yes. For example: Episode102 6-23-06MR, then from email comes Episode102 6-23-06ZX. There should be no conflict having both these open. However, it would be easier and more efficient just to have a project which only contains your timeline. All of the media would reside in a “master project” which was only updated for new media.
mark
-
We do this all the time. One of our editors lives in Sante Fe, New Mexico… our main office is here in LA. We have a duplicate set of media, and simply send the sequences back and forth. The secret to keeping reconnecting to a minimum is to have the exact same file structure here as there. Same drive names, same folders etc. That way, it’s almost a “one click” reconnect.
Since we work in Off-line RT, the render files for an entire half hour show only take a few minutes, so we simply redo them. The earlier adivce about “incrementing” the project name is good. We keep the projects “lean” only containing the timeline that we need. Media management is done at the finder level. In other words, we organize our media in logical folders on the finder level, so the projects to NOT need to contain everything.
I’ve heard that email can sometimes corrupt a sequence or project but using “stuffit” seems to put a “wrapper” around it and ensures accurate transit via email.
Good luck.
Mark
-
Go to the “indie Film & Documentary” forum here on the cow. There’s a thread on this very topic just a few days old.
Mark
-
“Doctor, my back hurts when I do this.”
“So, don’t do that!”
You’ve got to give us more symptoms before we can diagnose. What kind of connectivitiy to you have? Where is this server? What’s different about this server? Clearly, if it works with others, then your problem lies with this one.
Mark
-
Multi-track audio is mostly “imported” not “Digitized”. Do a google search on “Broadcast Wave Files”.
mark
-
[Shane Ross] “Those frames are missing”
Just to be clear… it’s not the “FRAME” that’s missing, it’s the NUMBER assigned to it. There’s still the same amount of frames there. If you look at the frames, there is Nothing missing.
Here’s some explanations of Drop frame timecode.
https://www.csif.org/html/dropframe.html
https://www.xowave.com/doc/recording/timecode.shtml
https://www.cinematography.net/Pages%20DW/60i_vs_59.94.htm
There’s probably more confusion and chatter about this issue than almost anything else in post. Rivaled only by Avid vs FCP!
mark
-
[G-Video] “Ok, so I am editing offlineRT, so I will need to generate an EDL and uprez. So what should I be careful of when doing this? How can an EDL “miss” the designation for drop or nondrop? How can I prevent this?”
Well, exactly how, I couldn’t say ’cause there are many ways, but it does happen. For example, your master tapes were prepared with bars and tone in advance by an ambitious camera assistant using non drop. Unbeknownst to him, the shoot calls for Drop frame code. When digitizing, the tape is designated “dropframe” but the code changes as soon as the bars are done. Sometimes the machine will catch this, sometimes it won’t. Stranger things have happened. The important thing is to be aware of it. Know which reel numbers are Drop and which aren’t. Check the EDL against your reels an make sure that it’s accurate. You know that “drop” is designated within an EDL by the use of a semi-colon (;) and non drop uses a plain old colon(:). If you notice a discrepancy, you know you’ve got a problem.
There are many different types of EDLs that you can generate: CMX, Grass Valley, etc. All these different formats have unique quirks in the way they handle TC changes.
Do you REALLY have to use an EDL as your key to on-line? If you had a way to just upres the sequence, bypassing the EDL step life would be much simpler. Do you know about Automatic Duck and it’s ability to “translate” FC sequences to Avid sequences?
Good Luck.
Mark
-
DRW,
This is what agents and lawyers are for!
If that’s not an option for you, I gotta ask, did you have a deal memo before you started stating what the credit would be?
If you’re tuned into Hollywood enough to know about the “last man standing” rule, then surely you’re wise enough to demand a deal memo upon starting a project. Absent that,
it’s time to suck it up, confront your nemesis and demand what you feel you’re owed. You may not want a confrontation, but clearly this is bothering you or you wouldn’t have posted. You know what you’ve got to do… so get to it. Good luck!Mark