Michael Phillips
1
COW Coin
Forum Replies Created
-
So the two match=frame clicks won’t ework to get to the ISO’s at the edit point? How do you defined “useful” ISO’s? Pro Tools can match back to any ISO track during the sound post process. Or do you need to have all ISO tracks while editing?
Michael
-
The 7.1 would not work as it is a matter of choosing which ISO track to use, and not all of them all the time (voices played) when editing with a 7.1 clip.
Until there is a better multitrack container style editing for editing, the Sync with Mix track is sort of a 80/20 solution meaning:
1. Import BWF with all tracks (MIX+ISO)
2. Sync with MIX track only. This “assumes” that this will be good for most of the editing.
3. When you get to a need for one of the ISO because it works better, match frame twice – once to bring back the sync clip, then audio only match frame again in the source monitor will bring up the original 8 track BWF at that point to use the ISO as needed.Not as ideal as a dedicated multitrack container where you could make the edit, then right-click to bring up the ISO track desired for that edit. Maybe in the future.
Michael
-
Like Shane says… the biggest project I’ve seen firsthand was Alice in Wonderland 3D which had close to 5000 bins in a project. The Lord of Rings were all posted at once, but I am not sure whether it was three projects with shared bins, or all one project with folders and bins to manage the three releases.
Michael
-
My point exactly, FCPx as loss leader for the video side of things, they could give away any software they develop for any of the markets served. I am only looking at the video market for these boards. I don’t see them giving free iTunes bucks for other apps, but it might be possible.
Michael
-
So – dredging up this old thread based on real numbers from over the weekend. 9 million devices sold. In giving away iWorks on those devices, they left a total of $360M on the table. Now of course, 100% of the iOS owners would not have bought all the components of the suite, so that would be the total addressable market from over the weekend (and sure to get higher).
If Apple is willing to leave a potential of $360M on the table, we can have fun and apply that to FCPx which would be just over 900K units. Let’s round that up to 1M units. I still say I wouldn’t be surprised for them to bundle FCPx, even if for a limited time, with the New MacPro for the “pro-video” space. I am not counting imaging and other processor intensive markets. Even with Logic X, Compressor and Motion thrown in for a total of $700 – I still would not be surprised. Assuming $360M give-away as “marketing”… that would still be over 500K units for the video pro in this segment. Which sounds about right for the higher end video users, as many folks may well be very well served by the iMac.
Just having some fun.
Michael
-
Knowing version and OS might help.
The native dimensions of the file before importing are 960×720? And when imported, is it pillarboxed or stretched to be displayed in a 16:9 viewer? Or does it need both a stretch and a letterbox? What is the intended aspect ratio of the source? 2.40? Something else?
If the latter, and in v7, go to the Source Settings and FrameFlex tab and adjust aspect ratio and letterbox/pillarbox settings as needed.
In previous versions, add the Reformat column to the bin and select letterbox. It may also need a DVE added (in the timeline” to create as aspect ratio other than 16:9 with a stretch.
Michael
-
well that’s the point of the submaster – you’re creating new “masters” from your DNG that will now be what is used in post with a proper and consistent timecode. They will no longer be DNG so you need to find a format that high quality and encompasses as much of the dynamic range you can retain. Something like DPX or even consider a ProRes 444.
Michael
-
You need the external one – Keyspan if on Mac –
Michael
-
You may consider making a submaster of those files with real SMPTE compliant timecode first, before editorial.
Michael
-
If you want to see the timecode to ensure proper commercial breaks and all that, just change the master timecode display above the record monitor to be 30DF. Avid will display the timecode as well as the pulldown cadence at every frame for a broadcast delivery. You can keep the other counter at 24 and see them both at the same time, or open the timecode window and have as many as you like.
Michael