Mary Ann mcclure
Forum Replies Created
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You mentioned iphoto, that can’t be used as an element in a FCP timeline, can it? I thought maybe using Motion, which I don’t know yet might have some value. But should I stick to the old way of setting keyframes in FCP? Is that the best way still to do moves on photos? I usually have a graphics person on board to do these for me.
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I have a DVD whose icon appears as a folder with a red slash. I tried both applications (no luck) but I did not try cinematize yet. Have you had any luck with this type of folder? It says it is universal. BTW-This is my clients product, I am not duplicating illegal media, they only had a DVD to provide me with right now.
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Thanks Shane!
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I didn’t realize it would be considered a pirating situation. Good to know this. What about the OSX that I purchased & put on there? Is that the same thing? If I give him the install disks for the version 9 that came with it wouldn’t that put me in the same situation? If it was licensed to me and then I have used that license to upgrade to OSX?
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Is there a typo in your first line or do both cards do just SD? Do these cards have various inputs? Also I like to have a third client ntsc monitor so do these cards have an extra output jack for that with a BNC or super vhs or RCA?
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Do you know of any books or online resources that might detail different ways of designing these post it boards. I read the Cold mountain Book that was suggested, a really great book BTW but it pertains more to feature scripting than Doc. W/ this historical Doc there is an huge amount of new and archival footage to organize and no director and no script. I have to come up with something very quickly to keep this project afloat. I have organized all 50 interviews into cut sequences based on a particular subject so these can be modular and cut down or used as select reels. This was done so the director could make notes, but he hasn’t and it isnt looking like he might anytime soon. I am just rying to find a good and speedy system to move forward quickly before the producer has a stroke.
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Thanks for more details on your process and the tip on the book. I ordered it and look forward to the read, especially since I talked the producers into using FCP on this mammoth job (we started on avid but much to most peoples horror I prefer the interface of FCP)!
You guys are the best!!! -
Thanks for all of your info and good humor. I was curious about the color code system you spoke of. Do you build your timeline straight across the top and color code subjects or do you color code the actual footage.In my case it is a Music Documentary. So the footage categories would be performance,interview,broll etc. while the subject would be topical based on the band’s history & album and 30 year life story. I am also curious about your mounting method becuase my boards will be traveling so I will have to have a mobile wall. Do you afix the index cards to the wall and move around your post its?
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Very funny and interesting info. Thanks for your time on this topic. I too started w/ a grease pencil behind my ear and squinting over a flatbed. I actually loved working up a sweat and burning off stress over a rewind bench but nonetheless have tried my best to embrace the digital world. (I guess it beats looking for a perf at the bottom of a bin). But back to the topic at hand…. …
How detailed do all of you get with these hundreds of post- its? Is it really just the subject or do you actually break down the dialogue? On this project I have two edit bays going in different towns (and a very indecisive director) so I am trying to come up with something that works, could be portable and helpful. I already cut down sequences of interviews, kind of like select reels based on each topic for his revision (since he is unwilling to review the material) you know the kind