Oliver Peters
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Forum Replies Created
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Baba,
FCP is totally freeform in that you can send Audio & Video Capture and Audio & Video Renders to 4 separate drives if you like. These can be separate locations from your project files and from your Autosave location. You decide. You can also manually create folders for stills, music, graphics, sfx, etc. if you wish. The key is being organized and consistent in your approach, since these changes are across all projects and all users. If your media goes to an external removeable drive and you change drives, then you also have to change your system settings.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Baba,
FCP is totally freeform in that you can send Audio & Video Capture and Audio & Video Renders to 4 separate drives if you like. These can be separate locations from your project files and from your Autosave location. You decide. You can also manually create folders for stills, music, graphics, sfx, etc. if you wish. The key is being organized and consistent in your approach, since these changes are across all projects and all users. If your media goes to an external removeable drive and you change drives, then you also have to change your system settings.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[oakmozart] softimage was originally formed by Microsoft in the early ’90’s. Therefore, it was designed to be inherently for Windows and not Mac….
..Besides, Steve Jobs doesn’t want them creating products for his Apple platform…it cuts into FCP sales.
…Avid is trying to push forward and utilize the new processors/chipsets, graphics technology and RAM. Apple is still in the dark ages when it comes to that. That makes Avid have to create 2 “separate” versions of their software.”These statements are pretty off-base. Softimage was developed independently of MS and was first developed for SGI machines. MS bought and briefly owned them before selling them to Avid.
Apple has repeatedly stated that it encourages any development for the Mac. They aren’t always as helpful to hardware partners as some would like, but anything that sells more Macs makes Jobs happy.
Avid has never been on the forefront of using advanced computer hardware in the first stages. If they were, you’d see Avid apps optimized for Quad processors or the new dual-core AMDs and 64-bit computing. They have traditionally lagged behind the market in responding in a timely manner to OS changes and hardware changes. Sometimes this is good because it makes things less volatile, but it can be rather frustrating to many of the users.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Greg,
This works just fine. You can do uncompressed with a single FW800 drive, but don’t count on solid playback. It will drop frames but you can edit with it. You might look into a dual-channel FW800 cardbus adapter and run 2 FW800 drives striped for better performance or use the DV50 codec. To get video in and out, use AJA Io (analog & digital), IoLA (analog) or IoLD (digital) systems. These will connect on your FW400 port. Since you are a M100 guy, have you looked into their software-only versions?
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Sam,
Audio levels as measured on various types of VUs meters are grossly inaccurate, so you have to figure out what works on the machines you have and go by that. For instance, on a Digibeta’s meters, -20 equals 0 VU on an analog meter. If your peaks are close to that, then that volume will look right to you on the DBeta deck, but be really low when measured on a Beta-SP’s meters, for example. This is due to the difference in how each system reacts to and represents the peaks in the signal based on the ballistics of the metering system.
Avid’s meters are pretty responsive to peaks, so if you reference to -20, then your signal should have peaks in the +12 range in the Avid UI (as a guess). What you want to end up with when referenced to tone (-20 digital, 0 analog), is a signal with peaks at around -10 on a DBeta with the body of the signal close to or a little over -20. On an analog deck, the meters should be close to 0 with peaks hitting between 0 and +3. An analog reading with the bulk of the audio down around -7 or less is too quiet. Depending on the system you use, some compression may be in order, but don’t go heavy-handed, because it will get compressed again in the broadcast chain. These suggestions are for commercials or promos. You can back off a bit for programming, which doesn’t have to be in-your-face.
If you are going direct from the Mojo to the VTR, you should probably consider a basic mixer in between, since Mojo’s output is unbalanced.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Annie,
I can’t image why Autosave Vault would be a problem. The tricks are these. When you do a “Save As”, use that as a back-up copy, but don’t continue on that the next day. Continue on the original main project. Second thing is that when you have to retrieve a version in the Vault after a crash, it will be date/time stamped. Open it and then immediately save it over the original project using the same name (“replace file” – yes). This should keep your media folders straight.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Tim Kolb] “The issues you are mentioning seem like they might be connected to those really long clips you captured from HDcam…did you capture uncompressed?”
Tim,
I would add that working with a 1 Beyond workstation equipped with Premiere Pro and the Bluefish card and uncompressed HD media, there was no such lag in performance. Clips were a standard length, no longer than a couple of minutes. I have also edited on an Avid DS 6.0 (pre-Nitris) on an IBM Intellistation and with all the clips loaded (uncompressed HD) to online a 1-hour show, system performance was slow. I think all these systems have some problems when huge amounts of data have to be pulled off of the drives.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Since we’re sharing images…. Back when I worked for a facility, here’s the last “big” suite I built:
https://oliverpeters.com/facdes.htm check image #2 (Symphony)
Note the desk behind the editor. This is a client desk raised slightly and with a parallel set of flat panels duplicating the editor’s displays. Also the edit desk was radiused AWAY from the center and not the typicaly “U” design. Both contributed to clients feeling very comfortable in “their area” and not constantly feeling the need to inch closer to the editor’s chair.Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Tim Kolb] “Why do we make an Avid user responsible to get training and take classes to learn how to operate the machine to be considered a proficient editor, but somehow Premiere Pro is supposed to deliver all that functionality yet somehow Premiere Pro is defective because a user can’t simply sit down and somehow instinctively operate it without ever cracking a manual?”
Tim,
I think that’s the nature of all NLEs these days. It’s the downside of cheap software. You’ll see the same sort of issues with Avid editors who first started using Avid with Xpress DV and Xpress Pro. People would rather vent on forums than invest the time to actually read the manuals. My advice to many people if they don’t want to learn from the books and don’t want to pay for “official” training is to hire an experienced freelancer at his or her dayrate for 1-3 days and have them teach you the ins and outs of the system. This will go a long way to solving the learning curve issues.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Marcus,
Capture from the HD-D5 to Kona2 as a single link HDSDI in 10-bit uncompressed for best quality. You might want to offline (if that’s a phase in your post process) at something less first, due to the performance demands of 10-bit. Then recapture and online/conform in 10-bit. Do your drives support this?
The second output of the Kona2 can feed your scope and can be set to SDI (525).
If you are working in 23.98, you will either need to get a monitor that handles the 24p frame rates (like a Sony flat panel) or you will need to add 2-3 pulldown to your output (see your settings in FCP). When I’ve done this, only 2-2-2-4 looked right with the DVCProHD codec, but all 3 options should work with uncompressed. This is an issue between FCP versus AJA control of the process as it relates to the codecs and the Kona2 board (per AJA).
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com