Sean Oneil
Forum Replies Created
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What if some person hands you a song and says copy it to this tape with these pictures on it and give it to me when you’re done. Are you responsible for what they do with it after the fact? What about dub houses? When I send a tape master and ask for 20 copies, they don’t ask me for legal paperwork or proof of copyright ownership? Is this really that much different?
And even if you do know they are going to broadcast it and you suspect they don’t have permission, I’m not sure there’s any legal problem with that. If I see Kate Moss snorting coke in a public place and choose not to call the cops, could I be charged with a crime for not being a tattle-tale?
Now if we’re talking about sound fx or stock music from a library that originates from within your post production house, then I could kind of see Debe’s argument. This is something that an editor made available for the client which previously was not available or unknown to the client. But if we’re talking about a song that the client provided the editor (or easily could have) then it’s really hard to put any blame on the editor IMO as long as the client signs something “promising” not to broadcast it without the legal right to do so.
Sean
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Make the client sign a waiver.
Sean
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Ok, finally figured it out. I had to buy LumiereHD. It’s the only easy way to do it. The deck actually doesn’t have analog inputs so Firewire is the only option.
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Thanks. The piece is only 6 minutes so I’m not worried about long compression times. Q-Master is confusing as hell, but there’s a nice and simple PDF in Compressor’s Help menu that gets you up and running with it if you just use it for Compressor and not Shake or anything else.
My understanding though is that the M2V and AC3 files need to be “muxxed” a special way to work on a DVHS tape. So I may not be able to do it on a Mac.
The footage is HD in an HD sequence. That’s why the client wants it in a consumer HD format so that it can be shown at retailers. Now that I think about it, DVHS is still the only consumer HD format as of right now that doesn’t involve hooking a computer up to a TV.
Recording via component will be my last resort (I have a Blackmagic Multibridge). That’s not the right way to do it though. It introduces an unneeded analog conversion and I doubt the built-in encoder on a $300 deck is any good.
Sean
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Yes. Select non-controllable device.
Sean
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Log and Capture window. There’s green buttons to turn tracks on and off, as well as buttons to bring them in as mono or stereo pairs.
Sean
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Regarding the new Canon, I’m fairly certain the camera doesn NOT convert the signal to 4:2:0/HDV and then to 4:2:2 if you’re capturing a live feed via HD-SDI. I could be wrong, but it would make no sense whatsoever for them to do that way, and it would actually be more work for the camera. So if I’m right, recording uncompressed directly from the Canon using a Decklink is actually better quality than HDCam – since HDCam is not uncompressed.
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DV50 is the way to go. Or for even less money, there’s HDV which you can just downconvert.
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[bernardo] “-so the premiere encoder differently better or worst?”
Decoder, not encoder ;). I have no idea if it’s better or worse. I would check the Premiere Pro forums, or I would send an email over to MainConcept. Regardless, if you capture SDI, you won’t have to worry about it, albiet it’s a huge waste of drive space.
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Keep in mind that you don’t necessarilly want to compare this to the FCP method. With FCP, the need for the Chroma Smoothing filter is due to the fact that the Apple DV decoder doesn’t do this automatically. For all we know, the Premiere DV decoder (made by MainConcept I believe) could work differently.