Mickavid
Forum Replies Created
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yes, that is what i downloaded. shouldn’t i be able to see the footage either in quicktime or fcphd?
mick
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if the apple download updates the quicktime components that fcp uses, shouldn’t i at least see the footage? i applied the dmg file onto the imac harddrive and restarted. is there a specialty to this step?
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the footage is already captured on a drive. it is a usb2.0. i have also transferred a clip to the harddrive. i hear it but see white on both quicktime and fcp.
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Actually, no. The post house will not recapture it. That is why I want them to capture it up front in the first place. Then I use my laptop to edit and then they use the drive to output.
From what I have read on this forum, that would work. I am just trying to keep the cost down without degrading the image, etc,…
Thanks everyone for the info.
Mick
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ok, the capture will be at a post house on a desktop g5. am i ok to then edit on a laptop? The feed back to tape for the master will be at the post house too, off of the same desktop.
mick
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I will be using the dvcpro codec. Thanks for the tips concerning uncompressed.
Does this workflow work well? I have read articles that state that once the footage is in fcphd it can be onlined and fed right out to film.
mick
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ok, I will see that the DVCPro codec is used and that the footage is not “uncompressed”. I’m ok with the post-house re-loading the footage uncompressed for an on-line.
Thanks for the info. BTW, I found some websites that indicate the file size for the DVCPro Codec: 2 hours on a 60G and 5 hours on a 120G.
Thanks for the good info.
Mick
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Hi,
sorry to hear about your feelings of inadequacy. probably nothing you are doing in particular. i do have a suggestion that may revolutionize your life in video tho….
on your next production hire a lighting designer who has cinema background. let him decide the equipment needs and take total charge of the “look” and do not skimp on the budget. in fact: take a hit financially if you have to. i know it will be hard to sit back and let him/her take control, but relax and let him work. in fact, give him/her some control over framing and work together to design the shots.
when you screen the footage you will get very excited and even ansy to begin the edit so…
go into the edit suite and do everything exactly the same. dissolves, cuts, music cue fades, levels – keep it all the same. then sit back and enjoy the difference professional lighting makes to any given project.
once you have achieved change with lighting, draw up new rates for clients that include this feature and then start looking at different aspects of the gig. maybe start working with a composer or a sound mixer.
maybe experiment with adding contrast to shots or boosting the saturation. this does wonders for typical video productions.
maybe later start employing a jib operator or steadycam. basically, involve other specialists in aspects of your day to day. this will be an experience that is hard to duplicate as a small operation.
trust me – i know where you are coming from. but change brings renaissance. and renaissance brings growth and renewal and vigor. and you clients will notice. and your reel will show new clients.
but the one person who will be most pleased is yourself.
good luck,
mick -
Ok, you read my mind.
Yesterday I resolved to assisting first time film-makers with the initial assembly of their films for a nominal set fee. The only caveat is that they send me dv clones of their master tapes with a script and initial shot selection.
The beauty of this method is that there is no waiting for studios to open time up, no hourly billing and clock watching and best of all, a chance to see how their project is going to come together without committing a large chunk of the budget to post. I prefer to work in my environment and the cost of shipping a large amount of dv tape is cheap. Other than that I do the edit and post mpegs or quicktimes to an ftp site for them to look at.
Initial assembly usually falls to the editor working on their own anyway, and I can take it all the way to fine-cut if the director is comfortable continuing to work long distance.
Once they are happy with the cut they are free to move on to an on-line facility to colour correct and create effects.
The best part is that I reside in Canada, and specifically in a province that provides tax credits on labour. My specialty is in editing with hands-on producing and marketing skills to boot. I understand the budget, mind-set and end product that the director or producer is looking for and can meet anyone well beyond half-way if they can deal with the fact that I am working in my own environment.
Right now I am negotiating to cut a product that will go to Sundance to get pedalled. I am constantly coming across directors looking for someone to assemble their product. I am pretty relaxed about it and willing to let the product go back into the directors hands at any time, or as I mentioned, I can continue working with them up to fine-cut.
I think that this is the wave of the future and my skills are being put to good use without anyone spending more time than necessary in airports.
So let me know if you need some work done and we’ll work out a unique package that meets the needs of the director, producer, and most importantly, the end-product.
Best,
Mick