Steven Gonzales
Forum Replies Created
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I think that broadcaster has the spirit of Spinal Tap, and they want shows that go to 11.
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Perhaps the seminar presenter is a National League baseball fan, and chose the Braves at 12W and 7L over the Cubs at 7W and 12L.
But they should at least put a seminar in Milwaukee in that case, at 12W 7L.
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It’s generally much easier to have the part you care about start at 1:00:00:00. That way, you don’t have to worry about the “midnight effect”, as one frame before 00:00:00:00 is 23:59:59:29 (for 29.97 timebase).
Often machines will see 23 hours, and go into reverse to try to get to 00:00.
Believe me, you’ll save yourself headaches if you use 1:00:00:00 as a starting point, and set your bars and tone before that.
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You need to know how you are finishing to understand how to start!
Basically, import flex files, which have film edge code to timecode relationships. This creates a Cinema Tools data base, with one record for each flex file record.
Capture from DVCAM at 29.97.
Then, if you are editing at 24 or 23.97, reverse telecine to those speeds (undo the field processing which happened during telecine.)
Link your quicktime files to the cinema tools data records.
Edit, then when done create cutlists if you are cutting negative. This process takes the info on what frames you used in your cut (based on that linked quicktime file) and uses the Cinema Tools database to figure out what film edge codes those portion relate to.
Finish the movie by exporting what you need to the lab and to sound.
** Decide now you will finish picture and sound, and then work backwards to design your work flow. **
Example: I chose a rocket, and I wonder if it will take me to the moon OR I need to go to the moon, so what type of rocket will get me there.
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I think the name Digital Intermediate came about with it’s use on project shot on film, then the negative was scanned into a computer for finishing, then a negative was created and film prints were struck.
Thus, the digital portion was intermediate between film input and output.
I’ll always love film, mostly because you can “decode” it’s signal with a light bulb!
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Since you’re a new Apple customer, don’t worry about the upgrade. There’s plenty to learn about version 5 of FCP Studio.
By the time you master the program, perhaps version 7 will be out, and then you can spend toward that upgrade with the $500 savings.
It’s the creative spirit using a tool they understand that does high quality work.
Shakespeare didn’t have a word processor, or even a typewriter. Although I’ll bet he was real mad when a new quill came out just after he bought the old version.
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Did you send your discs out via the postal service without insurance? If you had gotten insurance, and kept your receipt, I believe you would have the proof you need.
What if your original discs had gotten lost in the mail? What would you do when you need to reinstall?
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You can export them as a batch list and use another application.
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If Tom’s suggestion doesn’t work, set the word margins so the lines are as you like them, then Save As the word file as text with line breaks,