Shane Ross
Forum Replies Created
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I have no idea what you are describing. Do you have a sample picture?
Film look for DV is 90% lighting, and 10″ plugins. The best plugins for film effects are magic Bullet (spendy) or the film effects at http://www.natress.com (more affordable).
But lighting well is the key. Filmlooking overexposed, or uniformly lit footage doesn’t make it really look any better.
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Take a look in your AUtosave Vault and try to open the latest version of your cut from there. DUPLICATE it first, then open the duplicate.
Hopefully you have autosave enabled. Many people disable it. Now you see why it is wise not to…
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It is because mpeg-2 is what’s knows as a muxed file…mixed audio-video. FCP can’t work with that.
To quote a helful fellow from another forum:
“mpeg2 is not really an editable format. It works best as a final delivery format.
Use MPEG Streamclip, DVDxDV or Cinematize to covert the file to a DV/NTSC quicktime and you should have much better luck.”
(Thanks Studio-X)
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Papers with timecode…you mean a pseudo-paper edit? The client has given you TC where they want you to roughly cut the show? Or do these papers contain the TC of the footage they want you to capture? If it is the former, then use the numbers to make a rough cut. Don’t just drag the WHOLE clips. Use their TC guidelines and smooth out where you can. I am not sure about how to import a set of numbers as an EDL. By the time you format it properly and get it to work with the system, you could have cut it all by hand. But, I might be corrected…and gladly so.
As for question 2…don’t upgrade inthe middle of a project! Not good. Start with FCP 5. You might be able to get away with capturing the footage in FCP 4, then installing FCP 5 and working with it, but there have been many a tale of woe from those who upgraded mid-project. Don’t do it. Start with FCP 5. FCP 4.5 doesn’t have a multicamera function…only FCP 5 does. In FCP 4.5, we had to sync up the various takes onthe timeline and resize them and arrange them on the canvas so taht we could see them all at once. Took some time and rendering, but worked.
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To Quote Apple:
“enhances server availability and fault resilience by protecting file system integrity in the event of an unplanned shutdown or power failure, maximizing server and storage uptime by dramatically expediting repairs to the volumes when the system restarts”
It is a file that takes note of the file names and types on your hard drive. It doesn’t effect drive performance. Early thoughts were that it did, but it was discovered that it doesn’t.
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They must be formatted Mac OS Extended. Journalling can be on or off, it doesn’t matter. That is pretty much the only format you can use if you intend to capture media to those drives using FCP.
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Sounds like you are talking XSAN, and it is Apples version of Avid Unity. Search for it on the Apple site. NOT CHEAP. But the only way to both have access to the same project at the same time. You can both access the drives, if you shard them over ethernet…but that is not good enough for editing.
The cheapest option is to have two paris of drive with all the same clips, and two projects. Then if you work on a sequence and want the other editot to se it, just drop it into a separate project file and they can open it and bring it into their project.
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Dunno Alan…Never tried it. I have only seen it posted here. The guy who figured it out edits music videos and commercials, and has to use good smooth SloMo when the DP forgets to get it…
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Believe it or not, but some people found that Compressor does an impressive job at slo motion…
https://proapptips.com/tips/article.php?story=20050706012856432
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I agree…there is LOTS of reality show work…
But where do you get the low pay idea? Reality shows pay VERY VERY well. $3000 – $5000 a week (for NBC or even Court TV)…for a 6 day week. It is the home cooking shows and decorating shows and specialty cable channel shows that pay low.