Rich Rubasch
11
COW Coins
3
Premiere Pro Coins
Forum Replies Created
-
Did I mention I hate expressions? Just loathe the things. Yuck.
Man, I gotta learn expressions.
I just gotta learn those darn things.
I just don’t like expressions…
Must…learn……..them…..
Rich Rubasch
Tilt Media -
>Such an adapter with four ports will easily handle a 16 drive RAID 0 set producing 1 gigabyte per second transfer rates. That’s like having a huge RAM disk!>
Theoretically. But SATA is probably the most compelling storage technology we have right now…good info Bob…you have been and continue to be a valuable asset to the Cow communities. Glad to see you hopped over from the Avid-L some time ago…always read your posts.
Rich Rubasch
Tilt Media -
That was exactly one of my biggest beefs with the Mojo…no SDI, and worse, no digital audio input. I think it now has a SPDIF input. Of course they argue that the basic Mojo editor won’t even know what SDI is, and if they do they will automatically buy an adrenaline system.
Rich Rubasch
Tilt Media -
If you have HDV, DV and SD sources, you would not want to downconvert the HDV or the Beta to DV, most likely. What the Avid allows you to do is digitize the Beta via component to Uncompressed SD, the DV via firewire to DV, and the HDV via firewire to HDV, then start cutting in a sequence of your choice and the system does the converting on the fly.
Are you kidding? This isn’t a better solution to multiple formats? Because, if you can imagine, you can then build the program in an SD sequence and output station dubs to your Betacam via component, then copy the same sequence to an HDV timeline and output to the HDV deck realtime to an HDV master.
Although it is true that you can digitize to whatever size/codec you wish and then cut that way in FCP, you are then locked to that resolution and codec for the rest of the edit. AVID realized that in the short term, you might want an SD output, a DV output and an HDV output from the same sequence, and without rendering, you get that with Avid Xpress Studio HD.
I’m a FCP guy myself, but saw the Avid demo and a light bulb went off!
Rich Rubasch
Tilt Media -
Here’s a test, since you’ve got both decks. Keep the program online in DV50. Output to both tape formats. Now digitize from each master (preferably Beta via component and DVCAM via SDI) to DVCPro50 codec and see how each looks on the NTSC monitor.
My guess? The Beta will have more noise introduced in the image, but probably better chroma. The DVCAM will have less chroma overall, but better detail. Now crank up the audio…the DVCAM will be nearly silent where there is no audio on the tape, but the betacam will have noticeable hiss. Listen with headphones if you have to…the audio section on a UVW1800 is worse than the cassette deck in your 72 Gremlin.
Now, be a good sport and let us know what you actually observe.
Rich Rubasch
Tilt Media -
Shane, you might want to check out Avid Xpress Studio HD…It can play HD, SD, DV and HDV all in the same timeline and all realtime. It can up or downconvert on the fly in realtime.
FCP is limited in its realtime capabilities because every clip you drop in a given sequence must match the sequence settings or it has to be rendered to the sequence settings. It allows tremendous flexibility in using various codecs, frame rates, field order, etc, but everything must match the sequence settings.
Avid is of the opinion that this is not the best workflow, and with the original Xpress with Mojo, you could mix DV and SD on the same timeline. Now, with the HD version of Xpress Studio they upped the bar by adding HD and HDV resolutions along with realtime up or down convert on the timeline. The HDV implementation of this technology is due out in the Fall, but the system is shipping now.
I have the Aurora Pipe Pro Studio card on a FCP setup, but I recently saw the Avid demo and was impressed by the mixing of different sources on either a DV, SD, HDV or even HD timeline.
Have a look,
Rich Rubasch
Tilt Media -
I’m with Alan. Edits will work both with and without sound if they are good, solid edits. If an edit is hard, it will be hard even if it hits a music beat or not. If a sequence isn’t working even though it is “timed” to the music, turn off the sound and watch it. How does it play now?
I don’t always like to edit on eye blinks or things like that…once a viewer catches on to you they will be distracted by your technique. I like to watch the story unfold…it should seem natural, and since we control the pace of the edits, we can determine when to kick it up a notch.
Music can be then manipulated to fit the edit. But I don’t usually like to use it as a guide unless I am building an animation that has a predetermined track and has critical timings.
Rich Rubasch
Tilt Media -
This is a great post for the Art of the Edit forum. Just the kind of thing they are discussing over there.
Rich Rubasch
Tilt Media -
Ok then…are you a Libra?
How’s that with security concerns?
Richster
-
Having Mayo 2 hours south puts you near Minneapolis. I know that won has a great post community especially in animation and design. Skilled producers can see a portfolio of traditional art and know if a person has the chops. You will have to find a company that is willing to take a chance with you and see how you apply your art background to moving images.
Get a Web site. Put both your traditional work and your animations up there. Make them easy to access, with small file sizes. Don’t make a prducer wait to download a 40 meg clip. You are just showing them a sample…they know it’s low rez. Look at my site…simple, clean, and not “over produced.” It has gotten me tons of work and hasn’t been updated for 2 years.
Then, sell yourself and especially your enthusiasm…enthusiasm can get you a long way to the right position.
Rich Rubasch
Tilt Media