[Maxwell Federman]

Hello Noah

My current workflow often involves capturing media to DVCPRO’HD format so I can edit successfully on a G4 1.5Ghz PowerBook w/ 2 Gbs RAM (with media on external drives).

With the current, updated version of FCP 6, will I be able to import HMC150 files into the “Log and Transfer” dialog and batch transcode to DVCPRO’HD without issue on the system profiled above?

Thanks for taking the time to read this post

Max

Max Federman

מקס פדרמן

http://www.mediadesign.net
HD Production & Editorial Post
Authorized Kulabyte Solutions Dealer

[Maxwell Federman]

Another helpful tool is researching rates for comparable services in your local market, especially if your potential clients will be shopping around. Rates vary widely around the country and even within cities. Sometimes even smaller markets can be saturated with video production companies, particularly near college towns. Understanding how your competition is getting things done and improving upon it in one or more ways is the key to making it work.

Another noteworthy element of sports video is that when you show up at a game with a pro camera, other people there will likely be interested in getting their hands on copies of the game (especially after a big win, or if word spreads of the quality of your material). A business model that accounts for this is by offering the client multiple copies of the finished product upfront; allowing them to share the cost of production with other players, coaches, parents, etc. and the goal of this is to monetize a value for each individual copy, allowing you to offer copies to additional people at the same cost to the initial client. Of course this is not possible in every (most?) situation. Even with a good relationship with a client; there is an undefined art to tactfully approaching the subject and it would certainly vary on a case-to-case basis.

An additional concept to consider is offering individual players edited highlight reels at the end of the season. If you save the program (aka sequence, timeline, etc depending on what you edit on) you use to export the media that goes into each deliverable, you can have the clients provide you a cut list of the clips they want to use as highlights based on their in and out times on the counter display of their bluray or dvd player… and this time-saving step allows you to offer reasonable prices when it’s as simple as pulling sub-clips, assembling them, and adding music, put a key-framed arrow on an individual player for a few seconds for identification on wide shots, and creating an intro-outro sequence with the player’s contact info.

I hope some of this info is helpful to someone; I wish I hadn’t had to figure it all out the hard way!

[Maxwell Federman]

Good news…

…a friend dug up a graphite model he had in storage!

I also have a MDD workstation for the OSX / 8.2.3 system but I don’t notice the humming over the older Betacam machines, duplication towers, etc…

I’d still say SGI Tezro was the noisiest workstation I’ve heard to date.

[Maxwell Federman]

Thanks John.

Our clients still dump enough SD material on us, to keep another M100i around frees up another workstation…

So your advice will help save me hours of my life… Thanks again!

Max

[Maxwell Federman]

On the topic of Macbook white… I am curious to know if you were able to do any compressed HD on it successfully… Considering the student pricing on Producer its a shame I haven’t had a chance to get even an entry-level Intel mac…

[Maxwell Federman]

Also check your RED version. I was having serious problems with FCP/RED combo until I loaded the update as Peter had suggested.

[Maxwell Federman]

Thanks for the heads-up about firewire.

I have a relative who will ship me his earlier generation MacBook as he is buying a new one. I don’t know the specs and there is a language barrier (and age gap) when it comes to asking him technical questions. But I know it’s not a MacBook Pro model…

…is it safe to assume Producer will run compressed HD on an entry-level MacBook, or am I getting my hopes up?

Thanks once again

Max Federman

[Maxwell Federman]

Here is an update:

8.2.1 has been running smoothly with Tiger 10.4.11 and QuickTime 7.5.0.

So far I have used it to capture and edit two projects from an NTSC composite telecine source, a project from component Betacam, and a DV project, all without non-resolvable issues.

I have encountered one issue, and in an attempt to not load your forum with v8 questions I’ll ask here:

Motion Path Editor

It worked good with 300kb media in 300kb graphics mode and did not crash.

But it did crash tonight with media that had been exported from FCP as (lossless M100 720 codec).

Is there a trick to overcoming this “known limitation”?

Another difference from the succesful motion path project is that this time all of my project setteings for effects are set to lossless…

Thanks again for your help!
(if you ever visit Texas stop by… I owe you some beers!)

Max Federman

[Maxwell Federman]

Thanks Peter

There is a problem. When Red loads from FCP the dreaded green “proxy track” appears with a number two below it. I am using FCP 6.0 If I apply a filter to the green track the changes appear when I return to FCP. But I need live preview in RED.

Do you think there is a settings problem?

Also the footage was captured using the pull-down removal preset in FCP.

Source material is DV 24p shot with a NTSC-region JVC GY-HD100A

Thanks Peter

Max Federman

[Maxwell Federman]

I looked at the drives in the System Profiler.

OSX recognizes them as ” Journaled – HSF+ ”

What needs to happen in order to allow m100 to see this?