Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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[arc nevada] “The CS5 Master Collection can do everything FCS can do and more”
A tractor can do everything my car can do plus more. I can build a house with a swiss army knife, but I would rather use a power tool or ten. The real question is how well it does each task. Can any CS5 fans tell us what it does better and how?
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[Arnie Schlissel] “The rule of thumb is “blond on blue””
I thought it was blonde draped on Harley.
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I haven’t had any up close with CS4 or had a good look at CS5 but do you color grade and how does a program like Color compare to CS5 offerings?
I mostly grade/online so I chose FCP because it was not only the most common source of projects but also having grading tools like Color have kept me in the business of broadcast finishing where I am competing with DaVinci standards of grading. Just how well do projects from AVID or FCP translate into CS5?
Can you point out what makes you want to switch to CS5 other than FCP has not made huge improvements since FCS2 was released. What is CS5 doing that is a big improvement on FCS3.
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What codec is the camera original and what codec is your sequence settings
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The important consideration when capturing is to make sure the settings match – frame rate, frame size and timecode. There should be an easy setup that matches your tape specs but double check the timecode DF or NDF settings in the easy setup and the sequence before capture and edit to avoid problems.
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The cost of a 1TB drive compared to 250 DVDR disks plus your time to backup 4 gigs at a time is a bit of a no brainer. People got excited by bluray because it can backup 8-10 times the data of a DVDR, but since then hard drives have become frighteningly cheap.
Nothing will be faster than putting your current full drives on the shelf and then buying a new drive. If the data really matters then buy two drives and clone as Richard said. Put the drives in different places just like professional archivers if you want to go the extra.
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Even if they are basic wavs, don’t import them until you have sorted out the frame rate. This forum is riddled with tales of sync woe from wavs imported before frame rates were locked in concrete.
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At least double system will be relatively simple as even though you are changing frame rate on one of the formats, it won’t change real time if it is via pulldown.
Are the audio files in broadcast wav format by any chance? If so they will have embedded timecode which is likely to cause problems if you are changing rate to something different from the audio files. Did they shoot with a timecode slate or lock codes to the 29.97 camera?
One fix is to convert the files to aif first. This is quick and won’t change quality, just get rid of the metadata. Import those files into the sequence once you have made the decision about frame rates etc.
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Yes. Staying around -10dbfs will make it similar volume to broadcast material. All digital mediums use the digital scale so when I say -10dbfs it means decibels full scale and that is a standard measure on all digital recording devices from digi beta, DAT, CD to HDCam, D5, DVD and bluray. They can all record from noise floor to zero dbfs and it means the same on all of them.
It is one standard that is an absolute in the digital world. People make it confusing by talking in VU and PPMs which are inaccurate variable standards.
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Well it still matters if it is being screened on a TV or the web.
If web, I would go 720p and as Shane indicates convert the 29.97 fps to 23.976. If it is going to be used on a DVD or broadcast then 1080i would be more appropriate.