Russell Lasson
Forum Replies Created
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If you get the IO HD you’ll be finishing with Pro Res 422. It can send it out HDSDI to another system that can digitize it.
I’d prefer a file transfer from system to system instead. If you file is in Pro Res 422 then I would transcode it to a file format that would be compatible with the software that you want to use. You could even send image sequences if it’s easier than QuickTime videos.
Does the Smoke or Flint accept a QuickTime uncompressed format (Apple/AJA/Decklink)?
-Russ
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It might not be the best way, but I like to downconvert to uncompressed before I make a DVD out of a video. I had better results that way.
-Russ
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If you move the project file over to the external drive, you’ll be able to open it and edit just like you have been. It doesn’t lock anything.
It will still reference the media on your other drive though, so if you don’t copy all of the media over with the project file and you take it to another computer, all of the media will be offline.
Check out this post for more info:
-Russ
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If you are using 720×540 to design it, then use square pixels and save the copy you import as 720×480. If you use DV NTSC .9, then what does it set the image size to? (This depends on the version of Photoshop you’re using.) If it is 720×540 then save it as 720×480. If it is 720×480, things should be fine to just bring that into FCP.
[hauntfactory] “Ans, in FCP, there’s a drop down menu for zoom percentage, and at the bottom, an item to select “display square pixels”. Should this be checked on or off?”
Where did that button come from? Wow, I don’t remember it but there it is. Those buttons are for playback only and will not change your timeline or your files. It only changes how your Canvas shows those files. So set it to Fit to Window and have Show as Sq Pixels checked. (Again, it doesn’t change the files to square pixels, it just changes the DV pixels to square show they look right.)
-Russ
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For me, I’ve had a hand full of times when my fix in FCP was better than the sound mixer’s fix. I guess I started this post because I’m now excited to say that if it happens again I can say, “Listen to the OMF we sent you and you can see what the client approved. Just do it like that.”
Also, if someone is an editor/sound mixer combo, they don’t have to duplicate work. They can just start from where they left off in FCP.
I can definately see why some sound mixers strip everything and start fresh though.
-Russ
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What type of footage are you compressing?
-Russ
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[hauntfactory] “I made my still images in Photoshop 720×540.”
Once you’ve finished in Photoshop, save a copy of the file as 720×480 insead of 720×540. Thats should compansate for DV not using square pixels when you bring it in and it should fill the frame.
-Russ
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When you say “copy” do you mean just moving the project file to another drive or using the media manager and copying the project to another drive and deleting all media except for handles?
-Russ
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Amen to that! AE give me the most Cow time during extended RAM previews. With Motion 3, you might not hear from me quite as often.
-Russ
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For me, it depends on the situation.
If it is a run and gun shoot, it’s nice to have enough P2 cards for the day and just change them out as needed. I don’t like the Firestore as much because it’s bulky and connects over a little firewire cable that can get bumped around.
If it is mostly interviews, the Firestore rocks because of how long you can record. But if you’re not moving much, it’s not that hard to switch out P2 cards and download them to a laptop either.
So it depends; people are using both methods.
-Russ