Matt Devino
Forum Replies Created
-
You can email me at md@windowseatpictures.com, thanks.
-
Anyone find any information on post production with this camera? It wasn’t clear in the press release if the footage is actually combined in camera to make a 3D image, or if 2 seperate streams of video are being captured and have to be combined in post. Thanks.
-Matt -
It should work OK as long as you put as much RAM in it as you can afford and get the faster quad-core. A mac pro with 8-cores is optimal.
-
Thanks for the idea but I don’t even have my work station connected to the Internet it have mobile me installed on it. My quickcluster works fine when sending a QuickTime file to it from compressor, but it doesn’t work when sending a timeline from FCP. As Wayne pointed out even though apple advertises this as a new feature it still doesn’t work.
-
I know some people will tell you otherwise, but as long as the majority of the material is HD (say 90% or more) I like to scale up, especially if I am going to crop the HD footage to 4×3 anyway. I think making Mpegs from HD sources look a lot better than making them from SD sources, even uncompressed SD sources. Once the SD footage gets scaled back down to SD there are some artifacts but not enough for me to warrant losing quality on all the HD footage.
If most of your footage is SD than just work in SD.
-
Thanks for the info, and yes you are right nothing ever works the way they say it does.
On a side note reference quicktimes have always worked for me when I need to compress something using Qmaster, saves a lot of time compared to exporting a full size quicktime especially when it’s a full show.
Thanks for your help it’s appreciated.
-
I never used to because it never worked in FCP 6. Apple made a big deal about being able to use “Share” as a way to compress a timeline and even if it wasn’t rendered first by using a Qmaster cluster. It’s one of the main features in FCP 7 they are advertising as a reason to upgrade. If it worked it should be a lot faster than having to render my timeline and creating an uncontained quicktime then dropping that into compressor since I would be using all 8 cores of my machine to do the rendering and compressing.
So. Does it work or not? If it does work how do I make mine work?
-
Hi Sean,
So I think what I need to know is who is doing the offline and who is doing the online edit. It sounds like the Avid people are doing an offline edit and then sending their project over to you to conform the online edit in FCP? Is this correct? This could get messy if this is the case, even if you automatic duck the Avid sequence into an FCP sequence to do the conform some effects won’t come across when you online.
If i’m mistaken about what is going on then ignore that last bit.
Just give to the tape to your client however they want it. If they want all of the footage in the same format then just layoff to a 29.97 1080i HDCAM tape. If you are using a Kona card for output then having your sequence set to ProRes HQ 29.97 no field dominance will work fine, just set your easy setup to “AJA Kona 3 – 1080i 29.97 Apple ProRes 422 (HQ)” just before you output to tape.
-
Wow. Good to know. I was starting to think the same thing but thanks for confirming it.
-Matt -
Do you guys gave a Kona or Blackmagic card in your system? If so I would rent an HDCAM deck, buy a bunch of tape stock, and get ready for a few days of outputting. I would split the footage into 1 hour long timelines based on original frame rate. So all your 23.98 footage will go on a 23.98 timeline, and all your 29.97 footage will go on a 29.97 timeline. Output the 29.97 stuff to tape as 1080i, then for the 23.98 stuff set the deck to 23.98 PsF and output it as 23.98 so it stays native. If you plan to do this through a post house instead of renting a deck you can just ask them exactly how they want it and you can hand over sequences for them to output.