Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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Levels are only part of the story. DVD and Bluray let you use right up to zero if you are game. However, how loud do you want it to play compared to say a feature film or TV doco? A feature will have dialog peaking around -30 to -20dfs and broadcast has dialog typically peaking around -10dbfs
Loudness of course, is more than just levels. Is this a mixed tracks with dynamics processing (compressor limiters)? There is also the issue of setting dialog norm values if you are using Dolby ac3.
So what is the content and market place for the bluray. It may not matter what your levels are up to a point depending on that.
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Firstly kudos for making a clone. Secondly thanks for providing another reason why it is faster to do a full clean install instead of an upgrade over FCS2. Less haste, more speed as my grandmother used to say.
I guess when you have time to do the proper FCS3 install all will be fine.
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Is there anyone competent on location shoots these days? Are the clients paying through the nose for these stupid mistakes?
Luckily for me I work in PAL land so frame rate differences are rare. Someone who suffers NTSC all the time will have better advice about pullup and pulldown to get everything into one frame rate.
As for frame size, it depends on what the final output of the project is. Is it youtube or broadcast because the advice will depend on knowing that.
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bwf means Broadcast Wav file. When you capture from the camera you are generating quicktime files. The setting in your sequence prefs deals only with importing wav files that have the broadcast extensions in the header for timecode information.
Unless you are importing the audio as separate double system files from a device that generates bwfs, those settings are not relevant to your captures.
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I can see the problem but as I don’t edit on location on a laptop, I am not really the one to help. It is possible to use proxies and small FW powered external drives are available but I have no practical experience of that sort of workflow..
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It is never recommended to use your system drive as capture scratch. It is already running the OS and FCP software so adding media is asking for performance problems.
Use the external. And make sure graphics and music make it to the external before you edit. I would like a dollar for every job delivered to me on an external only to find bits like jpegs and aifs missing because they were on the system drive.
Apart from performance issues, it is smarter and neater to have all your media organised on externals so that it is effortless to pass the project on for grading/onlining and sound post.
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Recently I worked on a RED project that was transcoded to ProRes4444 2k files. It played off a WD FW800 drive. My final renders played of an Internal RAID which easily supports 1920 x 1080 uncompressed 10 bit but I was happy that the ProRess 2Ks played off the FW800 without issue. The drive was not full and I was working at 25fps so 24 would in theory be easier.
Keep an eye on USB3 if Mac bother to support it. (see https://forums.creativecow.net/thread/8/1082905
esata has caused some grief particularly with certain cards and drivers when OS updates happen.
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Everyone in this house (except me) has an iTouch on our wifi network so yes the phone part is avoided.
The iPad? Can’t see a single use for it in my world so far with or without a phone.
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Given the problems that Snow Leopard has created for various esata cards and the ongoing driver issues, I would have thought USB 3 is an obvious contender for a more universal high speed drive connector for the HD editing world.
All of my work comes from editors delivering their finals to me on an external drive. I have steadfastly avoided esata and it is lucky that ProRes has worked off FW800 drives so far.
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What version of FCP 6 does the other system have? It might be an earlier version which doesn’t have the EX flavour of XDCam codec. Try updating the version to 6.0.6 which was a stable and fully featured final version of FCP6.