Rich Rubasch
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COW Coins
3
Premiere Pro Coins
Forum Replies Created
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We are also 6.0.6 on Leopard. Here’s what I found. No matter what size I play back the canvas (100%, 50% etc) as long as there is gray area around all four sides the clip changes gamma when I play the clip. Dark on pause and lighter when I play the sequence.
Now, if I manually scale the canvas window so that part of the top and bottom of the canvas video area is covered up the gamma stays darker no matter what I do.
These kinds of things remind me that we still don’t really operate in a truly Pro environment.
Rich Rubasch
Tilt Media Inc.
Video Production and Post
Owner/President/Editor/Designer/Animator -
Betacam still alive and kicking in Madison, WI. Just bought a few more boxes of 5 minute tapes. So much SD spot delivery…ALL on Beta….Wisconsin and Iowa. And if I have say four spots to go to four stations that is a pretty simple four-tape output. If I choose to use DG Fastchannel, which is a great service, it adds up to 16 x the DG rate per spot. Usually that ends up being about three times more than delivering a simple Beta dub.
We don’t do so much Beta uploading but do plenty of outputting.
We also find ourselves making Betacam for live shows as a backup to our digital files. Seems everyone has a beta tape.
For us, if we know that we will be delivering in a given format throughout the year we get a deck. Renting can be very disruptive and won’t work on a short term job.
Beta? Still alive.
Rich Rubasch
Tilt Media Inc.
Video Production and Post
Owner/President/Editor/Designer/Animator -
So, how about a business model that has the high-end top level experienced editors and designers at a higher rate, and a wing with young lower paid trainees who crank out the “on-demand” type videos for a much lower rate.
The production company makes its recommendation on which one suits a particular project, the client makes their decision and off they go. With the high end side they get assured quality and best case experience and artistry.
With the lower end they take a certain risk with the savings built in.
In either case they have the assurance of the production company that they trust that they are in good hands either way. Can a production company work both approaches into their rate structure?
Hmmmmm.
Rich Rubasch
Tilt Media Inc.
Video Production and Post
Owner/President/Editor/Designer/Animator -
Actually we use the EX1 all the time and as far as I can tell the Sony EX Import app creates EX35 media, not ProRez. Our sequences all say Sony EX 35. Now you can certainly have the sequence render to ProRez as an intermediary format.
We have found that the EX1/ EX3 are very good in low light.
And to play devil’s advocate with Nick, we have seen HDV footage that doesn’t downconvert well at all, but DVCAM footage shot on a full size DVCAM camera and brought in SDI to DVCPro50 or Uncompressed that looked lots better.
Well shot HD on 1/2 or 2/3 cameras with good lenses and good composition will downconvert very well to SD.
Rich Rubasch
Tilt Media Inc.
Video Production and Post
Owner/President/Editor/Designer/Animator -
Actually the quality is the same, but the workflow is different. Sending directly to Compressor, Final Cut makes a reference clip of your sequence that it uses to encode. Exporting a clip from Final Cut using the Export Quicktime creates a self contained clip on your hard drive. We find this workflow, creating a self contained movie, is more reliable. Final Cut and Quicktime in general are notorious for losing references to media in a reference clip causing all sorts of problems.
The tried and true method for encoding from the timeline in FCP is to do the Export Quicktime Movie and make a self contained movie of your edit.
One exception I might make is if you have a very long timeline with only a few clips. But if your timeline is loaded with tracks, stills and clips, and multiple audio tracks, do the Export Quicktime movie and you will be headache free.
Rich Rubasch
Tilt Media Inc.
Video Production and Post
Owner/President/Editor/Designer/Animator -
We do a lot of TC Window dubs for clients. Since we still shoot a lot of DVCProHD we run the dub from the deck straight into a Sony DVD recorder while we upload the tape.
If we use the EX or P2 we simply drag the clips onto a timeline and add the timecode filter then output composite to the DVD recorder in realtime thru the Kona card.
I like knowing they have a DVD TC dub for those times when they say we have a shot that we don’t and I send them to the TC where the shots are. I appreciated producers who will take a DVD to look over the footage so we all have a good idea of what we have before the edit.
Rich Rubasch
Tilt Media Inc.
Video Production and Post
Owner/President/Editor/Designer/Animator -
Being 47+ I kind of fall in the middle. I had plenty of tape to tape editing with TBC’s and Dubner CG to have a pretty solid basic understanding of video.
But I quickly adapted to one of the first Avid’s and the whole Avid, AE, Photoshop workflow.
I think a lot of old station guys and producers work a lot on PC’s and the Mac just has this way of leading you down the path of least resistance, whereas the PC seems to have resistance built in at every step. Does for me anyway.
Also, tools like iTunes and iMovie all require you to know something about converting digital formats and since we all work with digital files every day, these kinds of workflows (tapeless, really) are second nature to the new generation.
Good observation though. I am all about the workflow. Shortest distance between my idea and the client.
Rich Rubasch
Tilt Media Inc.
Video Production and Post
Owner/President/Editor/Designer/Animator -
We recently signed with DeWolfe and shortly after some people here mentioned NonStop Music. Have to say DeWelfe is a pretty good deal, but Non Stop has better tracks. I did a search on DeWolfe and got lots of 80s sounding basic needle drop stuff….at Non Stop I did a search with the same terms and found a track right away.
We have also been signed with American Music Company (https://www.americanmusicco.com) and it has held up pretty well but for the orchestra stuff it is mostly synth. DeWolfe has the London Symphony on many of it’s tracks.
Do do it all again and I would take what I sped with American Music and Dewolfe and give it to Non Stop music.
Rich Rubasch
Tilt Media Inc.
Video Production and Post
Owner/President/Editor/Designer/Animator -
Doofus alert. The default is that the presets button is checked, but if yo twirl it down all the DVCProHD codecs are turned off.
Mistake IMO.
All better now.
Rich Rubasch
Tilt Media Inc.
Video Production and Post
Owner/President/Editor/Designer/Animator -
Get a small Western Digital Passport 120 gig drive, copy the files, Fed Ex the package to him on his dime and have him return the drive when he has copies them and you will have a nice transfer drive for the next one. We have about 6 of these transfer drives and three are out at any given time with footage being transferred.
Surely he will have to pay some shipping for the files and you won’t have to do anything but copy them and you’re done. Make it simple, and get a new transfer drive in the process.
Rich Rubasch
Tilt Media Inc.
Video Production and Post
Owner/President/Editor/Designer/Animator