Mark Raudonis
3
COW Coins
Forum Replies Created
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Steve,
Here’s an update to this thread: The latest version of FCP (6.0.3) seems to have fixed this “no shedding” multiclip problem. While your “EDL” approach certainly works, sometimes it’s not practical with complex timelines.
So, if you haven’t upgraded to the latest version, this is an incentive to do so. Give it a whirl and let us know how it goes.
Mark
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Schureman,
It seems like you want FCP to do EVERYTHING for you. It can’t. It won’t. It shouldn’t.
There are plenty of “transcription tools” out there. FCP is not one of them. I’d suggest you rethink your workflow to take advantage of some of the fine dedicated logging programs that are available to you. By the way, AVID does have a “script sync” capability that you may be interested in.
Mark
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I’ll second this recommendation.
Ask for Zeke Margolis. Tell him Mark sent you.
Mark
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Sorry, but that still doesn’t justify the statement. There’s 3 perf 35mm, super 16, cinemascope, and IMAX. These are all film formats that don’t even come close to 4 x 3.
If you want to make such a sweeping statement, you’ve got to qualify it.
Mark
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[Chris Borjis] “film is by nature a 4:3 aspect ratio full frame. “
WHAT?????
That wins the award for misinformation of the year.
https://en.wikipedia.org/wiki/Aspect_ratio_(image)
Mark
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Rent? No. It’s a straight purchase.
I don’t think they’re discriminating against your size, just your location! They’re based in Los Angeles, and it’s a bit of a hike to do an install.
Good luck.
mark
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[David Roth Weiss] “Yes, but the reality is that masters that adhere to broadcast standards are created every day on projects without buyers. There are times when you’ve simply got to finish and so long as you keep everthing within spec you should be just fine. But, you’ve got to get everything to spec first.
“david,
It seems like you’re contradicing yourself. In one post you’re saying go ahead and finish it, and in another you’re saying the buyer will do it. So which one is it?
Broadcasters acquire finished projects all the time and are quite used to conforming those projects to their needs one way or another, either in-house themselves, or by getting producers to do it themselves.
If money is tight, and in this case it sounds like it is, then I’d suggest that you go NO FURTHER than a viable screening copy. If you sell it, then you can finish it properly. Until then, you’re wasting time and money.
Mark
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Kris,
If you’ve never dealt with this stuff before, you may just want to contract it all out to a qualified post house. For example, you didn’t even mention closed captioning, which is required by most buyers (certainly by ALL broadcasters).
You don’t comment on the audio specs. Most broadcasters want Dolby AC-3 encoding. International audio specs are always different than domestic, and require special treatment (fully filled M & E), unique track assignments etc.
If you’re delivering to a buyer, they will have pages and pages of tech specs for you to follow. I’d suggest you get ahold of that document and make your decisions based on what they require.
As for the rest of your plan, it sounds like you’re chasing your tail! Outputing SD, up converting, new titles in HD, this all sounds way out of whack! I don’t follow why you’re going up to HD, and then back down to create a master. You really have to follow a dual path here. Your timeline is SD. Use that to create your SD masters, both texted and textless. If you want to use the terranex to upconvert, go ahead, but that master now has NOTHING to do with your original SD source.
Finally, a friendly word of advice. You admit that you’re new to this part of the process. This is NOT simple stuff. You’re dealing with extremely specific tech specs that require a strong base of knowledge to get it right. The cost of rejected masters will quickly erase any saving that you’re trying to make by doing it yourself. If you don’t have HD capable scopes to monitor this process, you’re really treading on thin ice.
Good luck.
Mark
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Eric,
This is the classic “off-line to on-line” workflow that’s been in use forever. For this workflow, “media manager” is your friend.
Mark
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You don’t say where your original music track is coming from or what kind of device you’re using to playback on the set. That information is essential if you want valid suggestions, but here’s a workflow that will work.
You will need TWO record decks to do this.
Output song onto a beta (digibeta, DV, etc) tape that has matching code. Once this tape is completed, set up to make ANOTHER copy. This time, take the audio OUTPUT from original source tape and “Y” it onto channel one. Take the TIMECODE OUT from the timecode output on the back of the source deck and feed it to audio ch 2. Done.
Good luck.
Mark