Forum Replies Created

Page 44 of 150
  • Mark Raudonis

    November 8, 2009 at 12:46 am in reply to: See yourself in this clip?

    Must of been before “preread” where you actually COULD do what he was asking… up to a point.

    I don’t miss linear editing one bit.

    Mark

  • Mark Raudonis

    November 7, 2009 at 3:46 pm in reply to: Editing in 23.98, delivering in 29.97

    Evan,

    Here’s a wikipedia link to explain the conversion from 23.98 to 29.97.

    https://en.wikipedia.org/wiki/Telecine

    Frames are not “duplicated”. You really should read the wiki to understand the process. As far as I know,
    there is no other way to convert from 23.98 to 29.97.

    mark

  • Mark Raudonis

    November 5, 2009 at 3:40 pm in reply to: Panny Pro Plasma model questions for client monitor

    We’ve got the TH-58PH10UKA in our conference room. It looks awesome, easily matching the 50’s we have in our on-line rooms.

    Depending on your needs, we’ve found the SDI card really makes connecting decks quite simple. If it’s too pricey, then the AJA Hi 5 HDMI converter works well too.

    Mark

  • Mark Raudonis

    November 3, 2009 at 4:03 am in reply to: Way OT but I trust the herd.

    Blu Ray.

    But what’s up with the bible reference? Maybe your question should be what would Jesus buy?

    mark

  • Bryan,

    You can’t determine original recording format from anything posted on the internet. Too many things can happen in the process of creating a file for the web that will mask the original format. For example, you can set the compressor to “de interlace” the media for the web, removing all evidence of the original.

    Sorry. You’re going to have to figure this one out yourself.

    Mark

  • Bryan,

    The quick answer is: MAYBE!

    Standard Definition NTSC video will be recorded at 29.97 frame rate, regardless of your camera settings.
    See Page 37 of the manual: 24P mode:

    “Shoot 24 frames a second in the progressive mode. For output and recording, the 24-frame-per- second signal is converted to 60-field-per-second interlace using the widely used “2:3” ratio.”

    I repeat. You will NOT see 24 frames on DV video. It will be 29.97 with the added pulldown making up the extra frames.

    To check if the camera was set to 24P, scroll through the fields and count the frame changes. You should easily be able to see the pull down pattern. Unfortunately, I don’t think the DSR-20 is capable of scrolling like this. You may need a higher quality deck in order to do this. Even easier, the digitized material, if truly progressive, will show NO evidences of “combing” or interlacing on any of the frames. That should be visible right from your timeline in pause mode.

    I understand your lack of confidence in your production crew giving you a straight answer. This camera has something like 81 different recordable formats. Different frame rates, resolutions, progressive vs interlaced. It’s quite easy for even a seasoned pro to get the settings wrong.

    I have become so frustrated with receiving media recorded in the wrong format that I’ve taken to insisting that the assistant Camera person use their iPhone and take a picture of the settings on the camera monitor to email me BEFORE they start shooting. At the very least this gets them to THINK about what the settings should be and gives me a slim chance of getting the correct settings.

    Hope this helps.

    mark

  • Mark Raudonis

    October 30, 2009 at 10:48 pm in reply to: Final Cut Volume Licensing Question

    Stefan,

    We have a volume license for all of our seats (approx 100).

    So, I can tell you it IS possible to buy a commercial volume license. However, as you pointed out, the upgrade path is tied to “maintenance” which essentially means you’re buying the software over again every year or so.

    All things considered, it would be cheaper to just go retail. Same thing with the OS licenses. We did a volume “business” license for all our OS needs… would have been much cheaper just to buy individual consumer seats.

    As for “breaking through” to the right person… can’t help you there. Maybe call Steve’s office and ask them to point you in the right direction???? 🙂

    Mark

  • Mark Raudonis

    October 23, 2009 at 11:13 pm in reply to: Ultimatte, FCP and New Mac Pro

    Lindsay,

    We have six rooms using Ultimatte advantedge all day long. It’s a great program… quite expensive, but in my opinion, worth it. The same dongle will work with either FCP or After Effects. We typically use it with AE, since we find that to be a bit more stable than FCP. Our hardware is the latest, greatest Mac PRO, so no issues there.

    Is it worth it? Only you can answer that. For us, yes it is. We can come much closer to a “one touch” key using Ultimatte than any other keyer we’ve tested.

    Mark

  • Mark Raudonis

    October 23, 2009 at 12:48 am in reply to: show entire sequence

    Alex,

    I’m guessing you’ve never RTFM.

    That’s a pretty basic question.

    Mark

  • Mark Raudonis

    October 22, 2009 at 3:16 pm in reply to: Unity, FCP 7, Snow Leopard?

    It sounds like you’re in an excellent position to test this out.

    Go ahead and try it, and let us know how it went.

    Mark

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