[Rene Hazekamp]

I’ve never tried that before, but I think the slomo will be computer generated in either way. How good it will be depends on the software and how comfortable you are in using it. I know Shake can make good slomos, If there is movement in your shot (and since you have stutter problems I suppose there is), the best way to slow it down is by using an optical flow technique (right words (?), in contrast to frame blending or just frame multiplication.

Personally I ‘ld try to make the slomo as good as possible long before printing the program to film, because then I’ld have the most control over the timing of the sequence. And Shake is actually fun to learn, making a simple slomo in it is quite straight forward.

so, hope it helps

Rene A. Hazekamp director, editor and bon vivant off course

portfolio https://www.renehazekamp.com

[Rene Hazekamp]

Hi

An even better and not so expensive solution is to make your slomo in Shake, (right click – export to shake)

Rene A. Hazekamp director and editor

portfolio https://www.renehazekamp.com

[Rene Hazekamp]

Well Jeff

I’ve been an avid editor for 12 years and an FCP editor since version 1.25, but I actually like the way an avid forces you to choose an existing tape number when you insert a tape or enable your deck. It’s handy for onlining, and for keeping your project organized . Getting waveforms in FCP takes just as long as in your average Avid,. Manipulating sound in FCP is easier, but making a useful omf file is still problematic.
How long it takes to open a new bin, doesn’t interest me (I sometimes still have to rewind 35 mm reels). But good media management in FCP would be a real time saver.

For a lot of reasons I like FCP better than an avid, but still it’s not an ideal program

Ren

[Rene Hazekamp]

Hi Wayne

I’ve a 866 mhz powerbook and several maxtor harddrives . I never had a dropframe when I only daisychained one drive and one camera to my powerbook.
And dv is only 25 Mbs so only 1/16 th of your bandwidth is used when your using firewire 400
Stay away from usb 2, though

Rene Hazekamp

https://www.renehazekamp.com

[Rene Hazekamp]

works fine in safari 2.0 as well

rene haekamp filmmaker

https://www.renehazekamp.com

[Rene Hazekamp]

ha

First try to figure out whether your footage is PAL or NTSC, if it is mostly NTSC, throw the PAL stuff away. Bring the NTSC stuff in
a a ntsc timeline.NEVER MIX PAL and NTSC, it won’t work. edit your thing, if you’re lucky you can complete your project in NTSC.
Make a self containing file and convert that one to PAL.
For this you can use compressor 2 (though the default settings work poorly)

rene hazekamp filmmaker

https://www.renehazekamp.com

[Rene Hazekamp]

Quite safe . Had no prolems whatsover
dual 1.8 fcp 502 osx 10.4.2

rene hazekamp // content causer

https://www.renehazekamp.com

[Rene Hazekamp]

it’s a good advice, though connecting a mac to pc through ethernet is fairly easy when yoy have os x .2 or higher. and the pc has windows xp

connect the computers with a crossover ethernet cable

make the pc network enabled (i believe this is the default)

In the mac go to system preferences choose network, choose built in ethernet, under the tab tcp/ip choose connect through or via DHCP and renew connection.
Important is that you have some patience because on a powerbook 800 it takes approx 10 seconds before the connection is established, then go to your network alias on the hard drive and you see that the sees that there is a server avaible. type the password of the pc and your done.

good luck

file transfers at 10 meg a second are possible

rene hazekamp

https://www.renehazekamp.com