Richard Herd
Forum Replies Created
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Generally speaking, you should have two drives (1) is a system drive, and (2) is a media drive.
Tutorials usually put their stuff on the desktop because it is easier for the sake of the tutorial.
In the project setting, you designate a Scratch disk (which is also the term for media drive). The term scratch disk comes from the old days when fast computer drives were very expensive, so only the content being cut that moment was stored on the scratch disk. After the edit, you put it back in archive. Those days are basically over, but the term “Scratch Disk” still stays, and it means a fast and big drive where media goes.
Having said that, miniDV is pretty small throughput, so it should be ok.
Regarding organizing: yes, keep everything organized all the time — in the finder, in the app — always always always 🙂
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[Jan Lower] “Adobe is likely to support either of these codes in Media Encoder?”
Of course they will, but when?
[Jan Lower] “I hear Avid are launching a set of Ultra HD DNX codecs which have always been free up to now and we regularly have used them for mastering HD projects. Has anyone experience of the beta versions?”
You should ask in the Avid forum.:)
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I assume you are using Premiere. If so, what version? Generally speaking this has not changed from FCP Legacy. Anyway, in Premiere it is called the Capture window.
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The “trick” is to import the media from the Media Browser and not import from the file menu, drag and drop, nor short cut CMD-I (ctrl-I) because you want Media Browser to make a new AVCHD content file.
Moreover — and here’s the grading issue — the camera is not only heavily compressed but also aliased, meaning 4:2:0, so any missing information simply does not exist and the computer will have to interpolate that information.
The field recorder is only a benefit if the output signal is better than 4:2:0.
Having said that, another great workflow is to use Prelude to ingest the footage. In there, you can choose from a variety of codecs. For example, Apple Pro Res 422 or Avid DNxHD and so on. The difference here is that these codecs are intraframe, so they will take up more space on your drive, but they are easier to process for the computer in the timeline. If you are moving from your compressed video to APR422, you will not gain color dynamics by using HQ setting, so stay with LT to gain computing efficiency.
For me, I usually transcode to APR422 if I have a lot of footage to wade through, and I know I do not want all of it. There are a several Prelude tutorial videos on adobe tv and you can find a workflow for you.
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[Jeremy Garchow] “X assumes that you are going to make multiple videos from each set of media (or Library) and each video is it’s own project.”
Righto! The databasey stuff! Many databases that can be shared. There is an old thread around here somewhere, wherein the entire thing was discussed.
Apple used language to refer to the new stuff with new terms because the databasey was new.
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[David Lawrence] “… tracks.”
Once the audio is located in its particular place in time (whether by putting dialogue on A1 and A2 or by using Roles), the timeline interface has served its purpose and we move on to mixing audio. I realize some picture editors mix audio in the timeline. I would urge folks to stop doing that.
Premiere has a wonderful mixer full of sends, FX, busses and that’s really where Audio will sound its best — being mixed in the mixer. Here is my shoutout to Premiere’s Dynamic’s effect (audio): WooHoo! It is very powerful. Moving on…Audition is simply magic. I cannot over state that: Magic–I am really referring to the Spectral Frequency Display (SFD). Again: WooHoo Magic!
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[Juris Eksts] “expertise and time, in return for capital equipment “
Lovely!
(Sorry to add any confusion.)
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It does not imply the competitors are “feeble minded.”
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I keep hoping someone will modify an old 3-chip camera into an HDR black and white capture device.
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What is the film look?
It’s a couple of things.
1. dynamic range.
2. shutter.Unless you’re going to spend huge money, forget about getting film’s dynamic range.
The shutter is what causes confusion. For example, film cameras can shoot 30 fps, no problem, and it will look like film. The reason has to do with a misunderstood gadget that is not available on video cameras: the shutter angle. Usually a film camera uses a 180-degree shutter angle. The shutter speed is calculated as frame rate * shutter angle. 1/24 * 180/360 = 1/48. The 180-degree shutter angle creates a motion blur that our eyes are used to seeing. It’s that motion blur you’ll need to get in your motion photography to make it look more filmic. That means you’ll need to shoot your 30p with a 1/60 shutter. Give it a try and see what happens. If that is too slow of a shutter speed, you will need to spend your $400 on neutral density filters, polarizers, and other photography stuff, so the shutter speed can stay at 1/30 * 1/2 = 1/60. Do not speed up the shutter. You’ll be tempted to do that on bright days because at 1/60 shutter bright sunlight will be too bright. And that’s when you’ll need the ND filter — bright days. 🙂