Russell Lasson
Forum Replies Created
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I would use DVCPRO-PAL. DVCAM is really just the same as DVCPRO.
DVCPRO50 would actually be the best quality. It’s 4:2:2 instead of 4:1:1 like DVCPRO (also known as DVCPRO25).
Russell Lasson
Kaleidoscope Pictures
Provo, UT -
[Urban Skargren] “When I make 16:9 video”
Are you letterboxing the video or authoring it as a 16:9 video on the disc and letting the DVD player letterbox it?
As far as making scrolling credits, I’ve had the best luck in making a PSD with all of the credits and then animating the scroll in After Effects. If you scroll to fast, it will be jump though. That’s part of the game when you’re dealing with scrolling text.
-Russ
Russell Lasson
Kaleidoscope Pictures
Provo, UT -
[Michael Gissing] “If the camera shoots 50i then shoot with this and make 50i DV files if that’s what the client wants.”
I agree. I just didn’t know for sure if the camera could shoot in PAL. Since it does, there’s no point in doing it any other way. Plus he has a Kona 3. He’ll be fine.
But sometimes the speed conversion is a great tool to use.
-Russ
Russell Lasson
Kaleidoscope Pictures
Provo, UT -
There’s a much bigger cost up front, but we’ve been using LTO-3 and I love it. 400GB for under $50. It’s been such a relief be able to back up P2 footage and entire finished shows and all of the project files. It’s really been worth it for us.
-Russ
Russell Lasson
Kaleidoscope Pictures
Provo, UT -
[Ernie Santella] “Or… can I digitize it with my Kona3 card as PAL DV 50i? Will the Kona card do the conversion?”
If you have a Kona 3, that’s a great way to downconvert it.
-Russ
Russell Lasson
Kaleidoscope Pictures
Provo, UT -
After looking at the specs of the HDX900, I’ve learned that it will shoot at 50i or 25P. It’s just shoot it at that like Michael said. It will simplify things greatly.
-Russ
Russell Lasson
Kaleidoscope Pictures
Provo, UT -
Using AE you can fix the noise by painting/cloning it out, though I don’t know if that feature is in AE 5.5. Even if it isn’t you could just take samples of the wall use a mask to replace the noise.
But if you have an hour of this lady doing yoga and noise all the way through it, that will be a major pain!
-Russ
Russell Lasson
Kaleidoscope Pictures
Provo, UT -
I haven’t done any editing on a 1920×1080 MacBook Pro screen, but it really bugged me how small everything was. If you make the fonts bigger, maybe it wouldn’t be so bad and you’d just get used to it.
With the pro apps, it might be really beneficial to have the larger resolution. Seeing more tracks in FCP would be useful. Motion and Color layouts would be better too.
If my primary use was for editing, I’d probably go with the 1920×1080 resolution. If editing was secondary, I’d probably stick with the other resolution.
-Russ
Russell Lasson
Kaleidoscope Pictures
Provo, UT -
Just for conversation, the Xserve RAID never received a significant hardware upgrade during it’s product life. It still runs on ATA drives! And the throughput of an Xserve RAID with 14 drives was never great. If you wanted to do uncompressed 1080 HD, you needed at least two RAIDs to achieve the speed needed. That’s like 28 drives!
As far as XSAN 2, I hope that it’s in preparation for Final Cut Server to be introduced soon. It’s a strange time now that Apple has ditched NAB, I don’t know what to expect or when to expect it!
-Russ
Russell Lasson
Kaleidoscope Pictures
Provo, UT -
You could shoot at 24P, digitize the footage, then use Cinema Tools to conform the footage to 25P. Conform just retimes the footage so that one second is equal to 25 frames instead of 24 frames. So for every second, it will shorten the length of the footage by 1 frame. This ends up speeding the footage up by 4%. This has been a common and acceptable conversion for many workflows.
The really nice thing about this workflow is that the footage isn’t recompressed and no interpolation happens to create or remove frames. It looks great.
From there, you could just send a drive or DVDs with the footage to your client.
-Russ
Russell Lasson
Kaleidoscope Pictures
Provo, UT