Forum Replies Created

Page 13 of 29
  • Richard Cooper

    January 27, 2011 at 10:54 pm in reply to: Pros and Cons of a Production Company startup

    It is either a “hobby” or a “livelihood”

    Once you decide this, or once there is money exchanging hands you have your answer. Just a hobby? why not still get a business license and gain some TAX relief from your equipment purchases anyway.

    Bottom line if you ever plan on making any money doing this, a business is the way to go…. even if it is on paper.

    Better to be somewhat prepared for the possibility of success than to have a chance at success and fail because you were not ready for it.

    Good Luck!

    Richard Cooper
    FrostLine Productions, LLC
    Anchorage, Alaska
    http://www.frostlineproductions.com

  • Richard Cooper

    January 27, 2011 at 10:38 pm in reply to: 1920×1080 WMV?

    Oooops, Sorry, you need the Studio Pro version. It is $179 to be able to encode to HD WMV’s
    Here is the link:

    https://www.telestream.net

    Richard Cooper
    FrostLine Productions, LLC
    Anchorage, Alaska
    http://www.frostlineproductions.com

  • Richard Cooper

    January 27, 2011 at 10:34 pm in reply to: 1920×1080 WMV?

    What is a WMV….?

    HA! Just yanking your chain…. You need FlipForMac PRO (i think $99) it allows HD encoding to WMV from QT7 and I think even FCP7

    Hope this helps,

    Richard Cooper
    FrostLine Productions, LLC
    Anchorage, Alaska
    http://www.frostlineproductions.com

  • Richard Cooper

    January 27, 2011 at 10:31 pm in reply to: Re-ingesting EXCAM footage at ProRes 422 (HQ)

    I agree with Chris, edit XDAM and set render co-dec to ProRes.

    “Will it (encoding XDCAM to ProResHQ) raise the quality?”

    BTW… encoding to ProRes HQ is a waste of time and hard drive space unless you are working with a 10 bit or 2K/4K project. You will see no “raise in quality” by doing this. The damage has been done at this point. If you really want to improve the quality from the XDCAM co-dec, get yourself a KiPro and record straight to ProRes 422 and bypass the XDCAM compression all together. Otherwise you are just putting 3 gallons in a 10 gallon bucket. It is still 3 gallons. And Color can render out to ProRes, so stay XDCAM, send to color and your graded final will then be ProRes with as little conversions as possible to get there.

    Good Luck!!

    Richard Cooper
    FrostLine Productions, LLC
    Anchorage, Alaska
    http://www.frostlineproductions.com

  • Richard Cooper

    January 24, 2011 at 7:33 pm in reply to: A classic audio demonstration

    CLASSIC!! Would have loved to have seen this!

    Richard Cooper
    FrostLine Productions, LLC
    Anchorage, Alaska
    http://www.frostlineproductions.com

  • Richard Cooper

    January 20, 2011 at 12:02 am in reply to: Adjust Volumes/DB Level of Audio Tracks in Bulk

    Hi Mathew,
    Are you trying to do what Shane said in on the clips in the time line or the browser bin? Won’t work in the Bin. The clips must all be on the timeline.

    Richard Cooper
    FrostLine Productions, LLC
    Anchorage, Alaska
    http://www.frostlineproductions.com

  • Richard Cooper

    January 19, 2011 at 9:50 pm in reply to: connecting An AJA kona 3 output to FCS Colour

    You bet, Simon.
    In Color, just go to the Setup tab and they the user tab then chose your Kona Card in the video output drop down menu. This should send your video out through your Kona for proper monitoring.

    Hope this helps!

    Richard Cooper
    FrostLine Productions, LLC
    Anchorage, Alaska
    http://www.frostlineproductions.com

  • Richard Cooper

    January 18, 2011 at 3:02 am in reply to: Mac Pro CPUs

    “…does that mean the only codec Final Cut works with natively is ProRes? Or does it work with others as well?”

    …Uncompressed HD, DVC Pro HD, XDCAM HD, XDCAm EX, HDV… all work natively in FCP7, you just need to tran-scode formats like AVCHD and h.264. and others I am sure, to ProRes.
    But what is really common, if you are working say on a doc with many different flavors of codecs and camera types over the course of the project, is trans-coding everything to ProRes 422 upon ingest via HD/SDI through an i/o card like the Kona so your project wont get bogged down trying to work with all kinds of formats… Can it do it? Sure… in small doses, but when your business depends on a SOLID WORKFLOW, life is much less complicated when working in ProRes. It just works. Every Day… All Day.

    …YMMV

    Good Luck!

    Richard Cooper
    FrostLine Productions, LLC
    Anchorage, Alaska
    http://www.frostlineproductions.com

  • Richard Cooper

    January 17, 2011 at 7:46 pm in reply to: Mac Pro CPUs

    “I believe the 7D (and HVX for that matter) take the video as .MOV and when I import into FinalCut it automatically uses compression as H.264 in the Sequence Timeline Settings.”

    You need to bring the 7D footage into FCP through Log and Transfer. This will allow you to choose the ProRes flavor you wish to work with. Never try to edit with H.264 files. FCP does not support this codec. Just asking for problems.

    Good Luck!

    Richard Cooper
    FrostLine Productions, LLC
    Anchorage, Alaska
    http://www.frostlineproductions.com

  • Richard Cooper

    January 14, 2011 at 6:46 pm in reply to: bluray recorder

    B&H has the combo kit (SR-HD1500 and VC-50HD) for $5,554.50 So yeah… Not $200……

    https://www.bhphotovideo.com/c/product/683187-REG/JVC_SR_HD1500US_SR_HD1500_HD_SDI_Converter_Recorder_Kit.html

    Richard Cooper
    FrostLine Productions, LLC
    Anchorage, Alaska
    http://www.frostlineproductions.com

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