[Richard Harrington]

Unregistered or Pirated?

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques

[Richard Harrington]

Don’t sell jobs you have no idea to do

Options:
Hire a pro
Do test shoots and prototypes

Given the specificity of your questions it sounds like a leap first look second scenario

Plenty of things out there on matchmoving, rotoscoping, tracking, etc. But the concept you described is like jumping out a helicopter in the middle of the Arctic Sea because you think you want to learn to swim.

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques

[Richard Harrington]

Look at recent episodes of cow podcasts. Covered in depth

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques

[Richard Harrington]

Also look up Conduit for live keying. very reasonable

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques

[Richard Harrington]

You miss my point and are being WAY to sensitive. Us $100 worth a happy client? Is $100 worth hours if your time mixing footage types together with completely different gamma curves?

Get resourceful. Trade a camera rental of your gear for a DVX with someone in your market. Or waste your time and risk displeasure of the client.

You’re not wasting my time. But you’re taking unnecessary risks.

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques

[Richard Harrington]

You’re looking for someone to tell you what you want to hear.

So go ahead…. it’ll look great. The client will never be able to tell the difference and you’ll have no problems whatsover.

OR

you can spend $100 a day renting a camera that people are practically giving away for free and finish out the project cleanly.

Do what you want.

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques

[Richard Harrington]

Under CS5 you export the current sequence and choose to Queue the item. There is no need to first render the sequence. All frames are analyzed during the compression stage and pre-rendering adds no beneift.

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques

[Richard Harrington]

To make it match you can rent a DVX 100

You are not going to get cameras from 2 different manufacturers, with different recording specs, different sensor types, etc. to match.

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques

[Richard Harrington]

You can use the second port on the NVIDIA card

Some HD displays take DVI directly.

Others you can convert easily

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques

[Richard Harrington]

[Micah McDowell] “True that it’s not fast to transcode, but it is faster than I anticipated, and easy too. I suppose it’s render first on import, or render later… in my workflow rendering first seems way more efficient, and then it’s already ProRes for later color correction/compositing.

All depends what your shot ratio is. 3:1 , 5:1, 20:1?
If you’re shot ratio is higher than 2:1, you’ll spend more time transcoding then you will rendering for final output. MUCH more. Never mind the fact that you’ll consume 8-12X more storage space on your hard drives (which also cost money).

[Micah McDowell] Of course it’s great that DSLR video plays back realtime via graphics cards, but not much help when you’re trying to edit via a monitor connected via analog component. Otherwise there’d be no need for that pricey AJA Kona.”

Why do you need to EDIT via a monitor. Color correct, sure. But what is your external monitor doing for you that the computer display can’t when it comes to true editing?

For digitally acquired sources.. that KONA is a waste of money until it comes time to output to tape.

I have Konas.. but we’ve switched to just iOExpress for monitoring.

You can also monitor JUST fine going out HDMI (which can easily be converted to HDSDI for $300).

Your making workflow decisions based upon emotional attachments to hardware you’ve already purchased.

If you go down this route… you are spending 8X more on storage and easily 3-10X more on logging and transcoding.

Just consider those facts as you evaluate your workflow.

for tapeless formats, expensive capture cards are becoming obsolete. This is why we’ve moved to KiPro and others for much of our acquisition.

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques