Russell Lasson
Forum Replies Created
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I’m not sure if this is what you’re describing, but FCP will beep if you’ve past the number of realtime audio tracks. How many layers of audio are you trying to playback at once? In the FCP preferences, what is your realtime audio tracks set to? Make sure it’s more that what you’re trying to playback.
-Russ
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iMovie uses the same DV file that you would get by digitizing through FCP. You’ve already sacrificed quailty by recording in LP instead of SP.
I only suggest it because FCP isn’t working for you right now with your LP tape. It might be worth a shot.
You could also just digitize your tape in short segments in FCP. It might minimize the sync issues.
-Russ
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I saw the same thing and thought, “Where did this come from. Is it geared towards audio pros?”
The IO HD still has built in ProRes support while the MOTU only has DVCPROHD support. I’m not trying to knock MOTU, but AJA is a known industry proven video company and has an excellent track recorc. MOTU is a great company, but this is their first venture into video that I know of.
It is interesting and I do like all of the flashy lights on it:)
-Russ
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THREE CHEERS FOR JEREMY!!!! HIP HIP HURRAY, HIP HIP HURRAY, HIP HIP HURRAY!!!!!!!
I might have just told sesammedia that it was over unless he could find an autosave. Way to save the day!!!!
-Russ
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[vidnick] “I’m such a newbie I wasn’t even aware of “flex files,””
With the dramatic decrease of film aquisition for small projects, it’s not a very common topic anymore. I wouldn’t consider you a newbie because you haven’t used flex files before. Just be sure to request them from your telecine session.
-Russ
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[vintageseltzer] “tape itself was recorded in 16 Bit audio mode, and LP.”
The fact that it was recorded in Long Play could be the problem. It sounds silly, but you could try digitizing it in iMovie to see if it has the same problems.
-Russ
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From a creative cow article I read, it doesn’t.
(which could be a good thing because the codec isn’t free or supported on windows which makes it a bad choice for distributing to graphics/effects people. But even then, I wouldn’t mind having the option).
-Russ
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Yeah, no problem.
What was your show shot on? How did you digitize it? How did you get it into the animation format? What graphics/effects are being done and on what system? How will you view or deliver the final video?
Workflow is beginning to end of the project. It’s usually a very good practice to plan and test your workflow before you begin a project. (way too many people don’t and they end up with some pretty nasty problems and super tight deadlines).
-Russ
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[kevin c.] “Is the footage I capture into FCE, always gauranteed to be be HD and not standard?”
As long as you capture from a HD source. Like a HDV camera over firewire.
[kevin c.] “2) will hardrive of footage I hand over to an editor be 100% the quality than if I had handed over a backup tape”
If I understand FCE right (I’m a FCP user so I could be wrong) it doesn’t digitize the video to native HDV, but uses the Apple intermediate codec (which is still a good option). When give the footage to an editor, will the editor be using FCP or FCE or another edit system? It might be better to have them digitize it or for you to buy FCP if you need native HDV footage.
I suggest you talk it over with someone before you start a project. We’ll try to be as helpful as we can.
-Russ
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What are your timeline settings? Is your canvas set to view at 100%? (If not, it never really represents what your video looks like)
Setting up a timeline to the Animation compressor isn’t a regular practice. It would really help if you explained your workflow a little more.
-Russ