[Tim Kolb]

I would agree with Mark…everything but the SCORE thing. Things may be different today and certainly in different parts of the country, but make sure SCORE has someone familiar with technical/creative services…a former toilet tissue baron won’t be of much help, so pay attention to the background these guys bring to the table.

You don’t have a business when you have a camera, you have a business when you have a client. I did the big facility loan/purchase thing when I started, but even with a few clients lined up, knowing what I know now I would never do that again. It was like a financial albatross around my neck in the “salad years”…

Rent ANYTHING that only gets used when you have a project. It will be obvious to you at what point it will be more economical to own something. Right now just starting out, it isn’t likely you’ll have gotten the camera to pay for itself by the time cameras are available that are so much better and cheaper that it will be a liability.

Rental houses usually have the latest stuff. It actually gives you an edge, even if you’re established, to simply bring the equipment needed for the job to the project than trying to make the project right for the gear you own.

TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

Does the Pyro unit have RS422 deck control? If you want to batch capture (and for that matter, have ANY useful timecode on your footage captured from Beta SP), you simply have to have RS422 deck control.

The SD-Connect is a worthwhile investment. I have one and I batch capture from our UVW-1800 (as well as DVcam, DVCPRo, etc. via SDI, analog…you name it) all the time. I have several converters from several companies and this one is the best to date in my experience, both from a signal quality standpoint and a feature/price perspective.

The machine control is excellent, and based on my experience, by the time you get ProVTR or some other separate plugin to work beside one of the cheaper converters, you may end up investing enough extra time and frustration getting it dialed in to pay for the SD-Connect about 3 time over.

TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

Since the render files aren’t associated with the project, I manually delete them to free up some space first.

Then…you may want to do renders in sections, so you have a chance to manually save the project tied to the renders at least incrementally. This would be if the problems persist in dealing with the entire show…

TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

Yes, I’m sure I’ve seen an Opteron laptop somewhere…

I was in the Adobe booth with CineForm this year at NAB…just across the aisle.

Maybe we’ll run into each other someplace else…

TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

Well, I think that viewers can tire of the “Cinema Verite” shoulder float thing…also, most employees aren’t very good on-camera when they have to make things up off the top of their head (or even try to cover a long list of bullet points from memory). This guy wasn’t bad, but if you’re going to do this on a regular basis, your luck will likely run out. I find myself wishing you could do even some rudimentary lighting…

I would recommend sitting the people down and setting up an interview first. Light it so the person looks good, mic them with a lavalier or a shotgun mic and have them talk to you just off to the side of the camera. This ends up being more comfortable for the person on-camera and the viewer as well as the person speaking will be far more comfortable talking to a person than they are talking to the lense.

You can still do the walk through stuff, but intercut it with the interview…even using some of the interview audio as “narration”…along the lines of what Steven was suggesting. Your cool effects and that sort of stuff can still happen as you transition between the interview footage and cover footage…

This format would also give you more control over pacing as you can cut unnecessary stuff out through jumping around visually and you aren’t tied to the entire length of a particular on-camera segment…not to mention you most likely won’t have the sort of “thinking what to say next…” sort of stammering from your person as they will be responding to your questions on specific topics that they can easily and articulately answer…and you structure the continuity.

This approach would make your IT guys appear much more expert and give your production a nice bit of “TV polish” as well…

TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

I might try to take the image and place it on V1 and put a copy of it above on V2. Take the image on V2 and apply Effects>Channel>Invert to it. Then place a Luminance key on it. If necessary, place the “Brightness and Contrast” Effect in between the “Invert” and “Luminance Key” in the list for image adjustments to tweak the key if it isn’t exactly right.

If the image you showed was the image, it should be fine, if the background is black instead of white…things could get hairy.

TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

Yes, there are several interesting issues with Storm cards…

This is a pretty well known one…

TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

Are you using a Canopus card with PPro?

I have seen this with Canopus drivers. Putting an empty title on a track above everything else seems to deal with the problem in these cases…

TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

[Tomi] “You were probably thinking what is this guy still doing in premiere, but the thing is i have this one project that i started in premiere long ago and now i have to finish it…

Guess, i’ll have to reinstal 10.3.9 to make it work “

There are still a few folks using Premiere 6.5 on Mac, but not many for obvious reasons.

Good luck on finishing your project./

TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net

[Tim Kolb]

[Bob Bonniol] “Regarding some of the other talk about disappointment in Apple’s 64bit performance vs some of the chipsets on the windows side, up to now OS-X has not taken advantage of most 64 bit functionality, and virtually no apps (that I know of) are natively using the 64bit architecture (except, possibly, Motion or FCP… and I don’t know that for sure). So until we see full implementation of this, I don’t think it’s a comparison you can make”

When using CineForm HD editing systems, the AMD Opterons are measurably faster than 32 bit processors. There are no applications written for 64 bit yet, this is certainly true, but we see a performance advantage on the Windows side of the fence with a 64 bit pipeline, even though it’s not the same as if the apps were written for 64 bit, it’s there.

….while Mac 64 bit performance in applications that are cross-platform (like AE) that require serious render cycles, has been struggling to keep up with 32 bit Windows machines. My point is precisely that Mac has not taken any advantage of this…up to now anyway (I haven’t seen Tiger) as you mention, Bob.

The one area where Mac has an advantage in that the laptops are up to the task of doing production work without charring your desk ot your lap…my GoBoxx runs VERY hot with it’s desktop processor and 2 Ggs of RAM and internal RAID…

TimK
Kolb Syverson Communications
Creative Cow Host
2004, 2005 NAB Post Production Conference Premiere Pro Technical Chair
Author, “The Easy Guide to Premiere Pro” http://www.focalpress.com
“Premiere Pro Fast Track DVD Series” http://www.classondemand.net