Shane Ross
Forum Replies Created
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Academic versions aren’t upgradable. You need to buy the full version as full price.
Shane Ross
Alokut Productions
http://www.lfhd.net -
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I’ll have one available by the end of the month…or early Feb.
It is busy now.
Shane Ross
Alokut Productions
http://www.lfhd.net -
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Need another copy of FCP:
#20 Using iMovie to Capture for FCP edit
Shane’s Stock Answer #20:
iMovie handles the media differently from FCP, specifically where audio is concerned. So it is not a recommended workflow. Here’s why…
iMovie captures using DV Stream (.dv) standard which does not use timecode. That is a big disadvantage over the way that FCP captures in that you can’t go back and recapture the material at a later date if you need to revisit a project.
The DV/NTSC specification (the one FCP uses) also calls for seperate tracks for audio and video, even if you capture it as one clip. iMovie’ DV stream format is muxed audio and video, which means that they are tied together (I can’t get into specifics because I ain’t no engineer or programmer). FCP is a bit more demanding and captures the seperate audio/video tracks, either in a single media file or as seperate video and audio files. With FCP you could capture video only or audio only because each is defined by the DV specs. while with iMovie you can’t.
Also, if you drop the iMovie footage into the timeline, your will get the RED render bar forcing you to render the footage in order to see it…
Shane
“There’s no need to fear, UNDERDOG is here!”Shane Ross
Alokut Productions
http://www.lfhd.net -
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Take your project and drives to a post facility with FCP and a Kona 2 card, and an HDCAM deck and have them upconvert it out to tape.
Ideally, if you had the budget, you’d output the raw timeline (no color correction of any kind) out to HDCAM, then take the HDCAM to a Da Vinci colorist for color correction. Mind you, that is between $350 and $600 per hour. Or, you can CC it yourself in the DV timeline then output that via the Kona to HDCAM. Not ideal, but economical.
Not to be harsh…but to be a realist…don’t spend lots of money on color correction. Very very few film festival films get picked up. As long as you have a look, and it is consistant, you will be fine. People are mainly looking for a great story, then picture quality. If someone buys it, THEN you can spend the $$$ to do a proper color correction and sound mix.
Shane Ross
Alokut Productions
http://www.lfhd.net -
In the Apple Desktop Pictures system preference panel, chose grey for both desktops. Take a picture of the desktop and put that into FCP so you send the same grey to your external monitor.
Now…in the DISPLAYS system preference, chose COLOR then select CALIBRATE. Use the ADVANCED mode, as it has more options. Now, go thru the settings and make the grey of the two computer monitors match as closely as possible that of the external TV. That way, you know that they are as close to the look of the TV as they can be.
I have two LCD computer monitors, the same model, and even they aren’t exactly the same. The default settings of both were selected and they still didn’t match. I had to use the above method.
Shane Ross
Alokut Productions
http://www.lfhd.net