Sam Cole
Forum Replies Created
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[Alan Okey] “FCP has an annoying quirk in which the display won’t update on a CC adjustment”
Maybe they will fix it (along with many other bugs) with the next dot update.
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
[Chris Harlan] “[Richard Johnson] “Maybe I am the cat calling the kettle black but I don’t think so.”
I don’t think I’ve ever heard that variation before. I’m used to pot/kettle. Was that a slip, or is it colloquial to where you are from? Serious question, btw; I’m always interested in language.
“MY take on the ‘variation’ was this;
Most modern Kettle’s are shiney (chrome) – read ‘mirror like’
If a black cat see’s its own reflection in the Kettle, the cat thinks the Kettle is black.Why that is a problem I don’t know – maybe someone can share some insight.
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
[Daniel Sametz] “we should be glad our dads didn’t name us Sue to make us strong”
They were the days when Johnny had the CASH!
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
It could be worse – A LOT WORSE!
Here in Australia the government legislated that by 2012 ALL television was to be high definition and digital only delivery; all analog transmitters were to be shut down.
On the lead up to 2012 there were quotas that had to be met; at 2011 it was to be 80% HD.So us small post production facilities had some serious upgrading to do. Any money we made went straight back into the business and we remained poor but thought we had a brilliant future.
So, what happened?
Currently (2011) we have 5% HD content, not 80%. They no longer require full HD by 2012, maybe 2018, maybe.
I recently was asked to quote on the post production of a major television series for next year – the network said they were not interested in HD; A MAJOR NETWORK!
We use to make plenty of doco’s for the international market – in HD. Now the international market has no money and are just recycling everything.
My point to you is, our industry is in decline but for you it could be worse; you could have invested thousands and thousands of dollars in equipment just to have it sitting around idle while you were still paying for it. If I was in your position I would get the hell out of it before it really does ruin your life.
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
[carlton hathcoat] “I have noticed in FCP that the Frame Rate is 29.97, not 59.94. “
Bouke is pointing you to a good start but just to help you get there, 59.94 is a number representing ‘fields’. There are 2 fields per frame so that equates to . . . yep, you guessed it; 29.97 frames.
Don’t get confused with camera’s that can shoot ‘off speed’ eg 60 FRAMES per second.
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
[Chris Harlan] “Unfortunately, not true”
Yes, not true at the moment. What I was alluding to is that it soon will be.
I have had discussions with both parties and not only will it be soon but it will be awesome!
I mainly use BMD devices and look forward to converting from Final Cut Pro to Avid. Preciously I was Premiere Pro and I am not going back there; it was a nightmare!
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
[Daniel Frome] “I wonder if the crossgrade $ increase is there to set the stage for Media Composer 6, which will probably be more attractive to FCP users due to the fact that it will be 64bit.”
…AND it will work with current Aja/Blackmagic/Matrox hardware
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
[John Pale] “Then go to the Frame Controls and set the Rate Conversion to Best.”
ALSO – set ‘motion compensation’ to the 2nd highest setting and be prepared for a long conversion time.
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
You could always send Apple a feature request . . . yeah alright, I am just jokin’!
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
We have a Sony VO9600 U-matic connected to a For.A FA300 TBC/sycroniser.
We have composite from the VTR connected to the input of the TBC and we have the ‘RF’ from the VTR connected to the DOC of the TBC. The RF/DOC connection is for ‘drop out compensation’.
We then have the videp output of the TBC and the audio output of the VTR connected to a BMD analog to SDI converter which is connected to a BMD router along with the VTR’s RS422 deck control.
All in all it makes for some good quality transfers considering it starts as ‘composite’ video.Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia