Nate Weaver
Forum Replies Created
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[Peter Dorr] “a.) is a 355 much better then the 350?
b.) will it be much more expensive?
c.) would you recommend waiting for the launch of the 355 to see the 350 price tumbling?
d.) will there be a big “used-350’s” market after the launch of the 355?”a-Incrementally. Having owned a 350 for a while now, I’ve learned it falls down when you have to gain up, the MPEG does NOT like noise added. 355 should be much better that way
b-10K more expensive, the rumors say. Which probably means a street price of around $29K
c-I think 350 prices will take a small hit, but not much. Best deals I’ve seen on the few used 350s have been in the $19-20k range. I can’t imagine it going down much more than $1k from there.
d-I doubt it. I have yet to meet an unhappy 350 user or owner, even with the camera’s few shortcomings.
If you expect to do a lot of low-light work, or lots of post color correction work, the 355 might be a good thing to wait for. If your work is well lit reality-style stuff, with little post color work, the 350 should be fine.
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[lasvideo] “…which is why I am spending a year working with it before we decide whether it will be able to fulfill our clients expectations”
You know, in my neck of the woods, clients look at it this way:
Avid: The gold standard. The way it should be done when budgets are easy, and everybody gets to work the way they want to. Hang out in the edit, make ridiculous executive creative suggestions, get to see everything happen while they wait. Old school. Sign offs happen in the edit suite, online happens right away, has to air tomorrow.
FCP: The reality of lower budget work, and what happens when director/editor works from home. Cheaper. Web approvals. Headaches for the online because everybody knows how to edit, but nobody knows how to prep projects from the beginning correctly. Clients don’t expect much, but the job does indeed get done, eventually correctly. No client sits in the edit suite bitching about rates or how long this is taking because they know better!
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[David Roth Weiss] “Now, drop an 8-bit uncompressed clip on the same DV timeline — its resized to 98.77%. Who knew that???”
Uh, if you drop 720×486 into 720×480, the truly correct method is to lop off the top 3 and bottom three lines.
I dunno if I’d call that one a win.
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I’ve started Compressor batches and had this problem as well, only to find out the jobs indeed were cooking in the BG…but Batch Monitor just didn’t get auto-launched.
After this happens, run BM manually and see what gives.
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Why does it need to be actually *in* FCP?
I like to slap color on while I edit for yuks, but anything final needs separate attention, and usually at the end so I don’t do it twice.
I mean, if you are doing a tape-to-tape after a cut is done, what’s the difference?
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What?
I wouldn’t want all those color tools trying to clog up one filter panel or viewer tab. That’s insane.
In any aspect of the business that I’ve been in, more complex tools need discreet steps to do properly. A “round-trip” application, given that the path works correctly without hiccups, seems to be just what the problem needs.
You’re entitled to your opinion, but I’d rather have a better tool to do the job, not a compromised one stuffed into a place that won’t fit.
New website, new work online:
https://www.nateweaver.net -
[Thomas Hughes] “The overcranking/undercranking and the open shutter effects I can do in post”
Mmm, kinda.
I suppose though if you don’t really know what the differences are between doing them in camera (speaking specifically about overcranking) and doing them in post, you prob won’t miss them.
The finder on the 350 vastly superior, however.
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Yup.
I find the 4:2:0 of XDCAM HD isn’t nearly as objectionable to begin with anyway, though. 1920×1080 is a whole lot more pixels than DV, seems to ease the pain.
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Not if you do your post right.
Just because your acquisition format is 4:1:1 doesn’t mean you have to do your graphics in a 4:1:1 environment.
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He wants frame for frame overcranking. Just slowing down 60i via deck isn’t the same.
Phil, the best way to do this I’ve found is to shoot 60i, and then slow down in After Effects. It will map the fields to new frames if you get the math exactly right, unlike most NLEs which will frame blend.
New website, new work online:
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