Michael Gissing
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COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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Four and a half years ago, I started HD with a G5 dual 2.5 and a dual fibre channel ATTO 4TB RAID so I was doing uncompressed 10 bit 1920 x 1080.
Today I am still using the G5 but with HDV/ ProRes workflows common, I can use FW800 drives. XDCam experience is similar. It all comes down to render time. I am looking at the upgrade path and at this stage, I can’t see any reason not to wait a few months until the price drops on the 2.9 Octo Nehalem. I will basically buy as much grunt as possible to get the longest life out of the system, like I did with the G5.
My RAID is still useful although I might swap out the 14 x 250 gig drives for a bunch of 1 or 1.5 TB drives.
Only other choice is switching to AJA from Blackmagic and also getting the most graphics card grunt. It might seem expensive to buy the best, but how much does it cost to have to change systems more often?
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Bars & tone on camera tape are relics of analog. In the digital age, they are of little use. I wouldn’t recommend recording content to tape from the head, so if you want to record bars or lens cap for 30 seconds, it doesn’t matter.
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[Dustin Parsons] “Is there a way to force FCP to export with one color setting so there will be no color variations across all systems / applications?”
FCP is exporting with one color setting. The problem is the amount of variability in playback and monitoring systems which FCP has no way of controlling.
Same applies in every aspect of our work. People have TV’s and stereo systems set up for their taste. I hate cinema screening of my work as there is always color, contrast and audio nightmares.
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[Joshua Whit] “wondering if there is anything that i am doing wrong…”
With basic punctuation and correct use of capitalising, I might be able to follow what you are saying. So this is just my guess.
When cameras fail to show up, I would try booting the computer with the camera on and powered. Also be aware of conflicts with firewire buses. If you have drives on firewire 400 at the same time as the camera, it might not show up or take forever.
This is a very common thing and so this issue has been discussed many time, so a search might also answer your question.
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Specifically, when you get project files in trash, it is because you have set a certain number of auto saves and once the system has made that number, it puts the excess prior saves into the trash.
Don’t worry, it’s normal with that setting.
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I’ll bet you can find one on the web in seconds
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[Kent Beeson] “So are you saying just make my timeline HDV, not Pro Res, set the render to Pro Res and it’ll look good?”
Yep. It is the same ProRes when you render, but you leave the render process till later rather than every time you edit. As David points out any mismatch between sequence and footage will be a problem. The XDCam footage will render as ProRes from within the HDV sequence.
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If the footage is HDV, you can edit in an HDV timeline and set the render to be ProRes. I wouldn’t recommend editing HDV in a ProRes timeline. There is no point to this when you can set the render as ProRes in the HDV sequence.
Otherwise convert your HDV to ProRes with compressor rather than recapture. I often online HDV captured material and render to ProRes and on a G5 with 10.4.11, it is no problem. So it cam be done, as these projects were captured and edited in HDV. It isn’t ideal as an edit codec, particularly on long form, but it isn’t the anti christ either.
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The mics that professional sound recordist provide would be my recommendation. that way you get a good mic and someone who knows how to use it and mix it.
Otherwise, buy DPA
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