Mark Raudonis
3
COW Coins
Forum Replies Created
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I agree, Bob. Great support is critical.
Here’s why we use “Active Storage” for our X-SAN.
A few years ago when they were new to the market, we were one of the first companies to buy their products. We scheduled a Sunday afternoon to shutdown our SAN and install their new drives. Before we started the process, they had given us their contact info. “Call us if you need help.”, they said. As it turns out, halfway into the installation, we noticed that we were missing a critical part. We called.
It was Sunday afternoon, remember. Alex Grossman, the CEO answered. “Need a part? No problem. I’ll bring it by personally!”. Yes, we were only a half hour drive up the 405, but seeing him show up to hand over the part spoke volumes about why that company has been successful.
Mark
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Avid is really on the forefront here. THey demo’d an internet based editing solution at NAB in April, but
I’m not sure when they expect it to become available.Here’s a peek.
https://community.avid.com/blogs/events/archive/2010/04/13/web-based-editing.aspx
Mark
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[Daniel Frome] “I would love to hear about any American broadcasters who are accepting HDCAM SR at 23.98 (if any exist).
“Yes, some do. But MOST do NOT. Every network has different delivery requirements… often based on different genres of programming.
Bottom line, if they’re paying… you give ’em whatever they want. In most cases (for US networks), that’s a 1080i 59.94 (Interlaced) HDCAM or HDCAMsr master.
Mark
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[Leonid Nekrasov] “It would be nice if you continue to share your experience.”
One freebie per customer!
Mark
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[Milton Hockman] “When i think about it, i just robbed some guy $400 for a day rate to videotape the thing and another $200 to edit it… all for the price of a $120 Flip camera.”
Not really. Many budgets would never support that rate anyway, so it’s “Flip” or nothing. I’d take “Flip” over nothing.
In our case, we have a big budget reality show about to start shooting. Sure, we’re loaded up with 6 Sony XDCAM PDW-800’s, and the crews to support those cameras, but guess what? We’re also passing out “Flips” like candy bars to incoming cast members and asking them to shoot themselves arriving. We’ve found that we can get footage on those kind of cameras that just wouldn’t be possible with a crew. This has nothing to do with budget, professionalism, or technology, but EVERYTHING to do with “Access”. By having the cast shoot themselves we get a perspective and POV that is just impossible otherwise. So, I’m a fan, but NOT for the obvious economic reasons driving many of these discussions. Would we shoot the whole show on a Flip? Of course not. Is it an interesting tool to have? You betcha.
Mark
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If it’s too late to import your music properly (48K), then killing all of your renders using the Render Manager and then rerendering will fix this.
mark
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I have found that I use CATdv and FCP simultaneously. My edit system has dual monitors, and so even though I have ingested all of the media into BOTH FCP and CATdv, I keep them both open. When I’m searching for a shot, I find that the thumbnail size and meta data display from CATdv is much more conducive to browsing than FCP. So, I’ll switch to CATdv, browse files, find a shot, then switch back to FCP to edit. Our numbering system allows me to easily find the bin within FCP, and then begin to work with that media in the timeline.
I agree with Bryson that a good “customizer” can do wonders for your workflow. For that to take place though, you really need to sit down and plot out what you’re trying to accomplish. We work in reality TV where we have much, much more media than can easily be browsed in FCP. CATdv answers the question, “How can we easily browse, identify, and then work with the media in FCP”. For us it’s “simultaneous use”.
Mark
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From the Manual:
HDCAM-SR format (SRW-5000/5500) or HDCAM format (SRW-5500) As the record/playback mode, you can select from the following ten modes.
1080×1920: 59.94i/60i/50i/23.98PsF/24PsF/25PsF/ 29.97PsF/30PsF
720×1280: 59.94P/50P (HDCAM-SR format only)mark
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Yes, a camera setting.
Check out Walter’s suggestions as well. They can be a real lifesaver.
mark
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Your cameraperson was shooting with “record run” timecode. This is a pretty standard default way of shooting. If you want FCP to create a new clip upon every camera start and stop, you can use “Time of Day” time code. This will sync your timecode generator to “actual time”. Whenever the camera starts and stops, so does the time code. Some people HATE this and would never suggest using it. Others have built a complete workflow around it. Only you can decide.
To answer your original question, YOU CAN”T break up the one long clip since the timecode is continuos.
Good luck.
mark