Randy Lee
Forum Replies Created
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It sounds like it isn’t a question of being able to make Compressor work or not… it is more of a statement that it is clunky, it doesn’t always act the same way as what you would expect it to, and it doesn’t give you the kind of wonderful compression that some other programs do.
The interface looks like they were trying to make a professional app useable for every idiot that can figure out how to open it. And they failed, miserably, making life harder for everyone that still uses Compressor. Come on, Apple. Take care of the pros, and let the rest of the world use Imovie and IDVD. Don’t put us all in the same boat.
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Has SD even died out yet? I would think not. HD and HDV aren’t going to die out any time soon, either. They will be replaced by better technology, but that normally takes quite a while to come down to a consumer or even prosumer price-point. By then, we’re invested in and using HD. We’re not all going to change directions at once just because there’s a new gadget on the market.
On the other hand, word on the street is that DSLRs are about to become obsolete. If you believe that Red can do what they claim to do with the currently being redesigned Scarlet, that is.
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I completely agree with what has been said so far, and what I have to say was already said, but seems to have been glossed over by the rest of the discussion. Sit down with your boss, in a non-confrontational manner, and discuss what sort of time limits are included in your salaried pay. If they’re paying you for 40 hours a week of work, bring that up and ask how they’re going to compensate for that extra Saturday. If it is a 40+ hours per week scenario, how are you being compensated for that extra time? Overtime pay? A higher base salary than you otherwise could have been given? It could be that they think you’re already being compensated for it, and they shouldn’t have to offer anything extra for your services.
Bring it up. Talk about it, ask questions about it. Make sure that they’re thinking about how to repay you for your extra time. Do you get a bonus at the end of the year for your work? Do you have some flexibility in the hours you put in while you’re not working on projects like these? You aren’t a slave, so make sure there is open discussion about payment and compensation. Unless you don’t want to be working on his side projects at all, in which case, well…the options have pretty well been laid out ^^^
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No offense taken, Chris. I, and everyone else reading this, learn more when you point out those little errors. I’ve got a lot to learn, and I’d rather learn every last bit of it than go without knowing. I’m 22 and grew up farming, but I’m doing what I can to break into a new world. I know a lot, enough to help the company that I’m with solve almost every single problem that we’ve run into getting 3 Final Cut systems up and running, but by no means do I know everything, and that’s why I turn to this forum. I would rather be corrected than not be. Keep the help coming.
Anne, I’m guessing that you’ve got a pretty firm handle on your workflow now? Feel free to ask if you’ve got any more issues. That’s what we’re here for. Otherwise, best of luck to you on your project.
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Alrighty. Proven wrong, and seconded. But at least I learned something. I’m not likely to use that at all where I work, since we’ve got all Mac Pros with Kona 3s, but I might have to try it out at home on my Dual 1.8 G5 and see how well it can handle Pro Res. Thanks for the info. One of these days I’ll know as much as you guys… until then I live, read, and occasionally get a detail wrong. As long as Anne is on the right track, I’m fine with that just this once. Thanks again.
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Regardless of the link working or not, on the question of making a still and an intro like 24’s, you could definitely do it in either FCP or Motion. The Optical Flow technology in Motion might leave it a little bit better, and would be relatively quick and easy to do. But FCP should work just fine, too. Shift-N will create the still, and if there’s very much motion going on a deinterlace filter will fix it right up for you. Then just keyframe your effects, and good to go. Cheap, quick and easy. Now I’m off to check the link and make sure I’m making sense 🙂
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Just a couple of points, because I think this could get confusing for a beginner…
1. The tape that you use has no effect on the format. Go ahead and use a good quality DV tape, and you can still shoot HDV on it, no problem, and the tape doesn’t affect the rest of your workflow. It’s the format you shot that matters, whether it’s HDV or DV.
2. You need to know what you’re doing with these before you move on from here, and so we can help you more.
We’re talking about Pro Res and codecs but don’t know that you can use them, or need them. To make use of Pro Res, you need an Intel Mac running Final Cut 6 or greater. But if this is a one-time thing, just going to DVD, it might be easier and quicker, with less possible snags along the way, to just down-convert right out of the camera and go to the standard NTSC-DV that most beginners start out with. In which case, set up Final Cut as NTSC, and set the camera to down-convert to DV (assuming that you shot HDV, that is.) It should work out just fine. If you want or need the HD footage, that’s a completely different ballgame.
Let us know and we’ll help keep things easy for you. Or do some looking around on the COW, we’ve been through all the rest of what you need to know before, and it should be fairly easy to find.
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I completely agree about shooting HDV and downgrading to DV. It’s the way to go. But re-reading the original post, I wonder if she was really asking if she needs to be buying the HDV tapes instead of the DV tapes, to shoot on. In which case, every time I’ve shot HDV, I’ve used DV tapes to do it. Salespeople will tell you to get the HDV tapes (which cost what, 3X as much? More? For me with no budget and eating ramen, let me tell you, that extra $10 a tape buys a LOT of ramen noodles), but I’ve never heard a good explanation behind doing so and the same old tapes seem to be working just fine for me and everyone else I’ve talked to. Any other opinions on this?
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While I haven’t had the opportunity to shoot with the EX-1 yet, I’ve recommended quite a few professionals, including the company that I work with, to stay away from it for exactly this reason. It seems like most viewers don’t notice or care very much about the wobbly footage, but it is definitely an issue if you know what you’re watching for. My question is: is this just an issue with the EX-1? That is about the only camera that I’ve heard about having rolling shutter issues. I haven’t heard about RED, also a CMOS sensor, having problems, or the EX-3, or any other cameras. If it is only the EX-1, then come on Sony, step it up. Don’t use us as guinea pigs and sell us wobbly crap as prosumer equipment. If it isn’t just the EX-1, then who’s dropping the ball and not telling us about the other cameras having issues?
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Will the camera or deck that you’re using play back the NTSC tape at all? Can it handle both PAL and NTSC? You might have to find a deck or camera that will play it back. Then you get to the fun part…getting the two to play well together…although as long as there isn’t any fast horizontal movement, the Nattress converter should do it for you.