Tim Martin
Forum Replies Created
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Since you have it in use.
What are your thoughts on work flow from transferring selects / elements from one timeline to another.
Example, elements from Episode One of a series to Episode Two?
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Just saw my signature. LOL now that is old. Kona HD.
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Come on David. You know how cheap I am.
No question on how fast the program is. But, it doesn’t do what I need it too.
Will use 7 until it doesn’t meet my needs, or something does that’s worth the transition (maybe FCP x, maybe Premiere, maybe Avid). But, no need to have the fastest tool that doesn’t meet my requirements.
Should mention that I actually think FCP X looks like a very well built application. Just not one that will allow me to make money the way that I do.
Impact on my business from today’s release… nothing.
Potential impact on my business six months from now… 50 / 50.
Dual 2.5 G5, AJA KonaHD, IO, Xserve Raid 3.5 TB
Dual 2.0 G5, AJA Kona 2, IO, Xserve Raid 3.5 TB
Dual 1.0 G4, AJA KonaHD, IO, Xserve Raid 1.7 TB -
I was very interested in their website. I had the same feeling as Walter and Gary, but I’m going to do some further research. I’ve ordered a demo disc of raw footage from them. And here is some of their pricing info on their 2k camera.
We offer our DIGITAL CINEMA EQUIPMENT for rent WORLDWIDE, standart set :
1x DC20 cameras,
2x 80GB FLASH DVR
1x 3TB HDD DVR
2x control LCD TFT 8′ Monitors
3 prime lenses
RENT PRICE with our technical staff 800USD per day + transport
(min 6 days )
I will let everyone know if what I find out about the company and this camrea. They have been to NAB, but looks like 2000 was the last time they had a booth. Showed at SIT in Japan in 2006.
Cheers,
Tim
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Software doesn’t matter. I’m way more impressed when I meet a potential hire that understands how to edit. I meet editors that don’t understand the basics of editing, but can push buttons in software.
I agree that if anything you should learn to edit using a linear editor.
Tim
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Luckily we have individuals like Anders Holck writing apps like P2 Genie for us. Can’t wait for it too ship (it’s in Final Beta) and he’s announced that it will only be
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Depends on the length of the show. If it’s DV, DVCPRO 50 or DVCPRO HD. DVCPRO HD at 1080 24p converted to 1080 24p in a 10 bit codec does take alot of time. You also have to make sure that you’re system is up to handling the amount of bandwidth Uncompressed takes. It’s only worth capturing footage that has been brought in as a codec other then what the footage originates on. If you have D-beta material captured as DV, capture it at 10-bit. If you have DV, captured straight in as DV, recompressing that DV footage without effects to 10-bit is going to be close to SDI out and beat Component out hands down.
As for actual times, we’ve recompressed a 15 minute show from DV to 10 bit in under two hours. Also, you avoid any timecode issues with recapture. Easiest offline to online process.
Tim
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Because DVCPRO 50 is the codec that the files originated in, I would media manage the offline edit using Final Cut Pro into Uncompressed 10-bit. In our testing this is sometimes even better then bringing the footage in through SDI (depending on the VTR’s internal converter). You have to set it to recompress the files and I’d add 1-2 second handles.
DV, DVCPRO 50 and DVCPRO 100 all are great acquisition codec
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Pressed Direct instead of Preview. I don’t know how to edit my posts so I thought I’d just repost my last comments with corrected spelling. Sorry.
Jan,
I love how involved you are and the way Panasonic US is run, I think you guys are doing a great job. But, I’ve found there are huge differences in the way the two organizations are run. The Canada team is extremely supportive and have helped many organizations (including ones I’m involved in) with events and seminars. But, and I mean a big BUT. Sometimes they just plain surprise me. My organization needed an HVX 200 for a shoot and I spoke to the Canadian Panasonic Reps for their suggestion on how to get one on time. They pushed me off to shops that had no idea of when they would be recieving cameras and when I suggested that we could get a camera package out of New York (Abel Cine love you guys) they quickly stated that they would not support that, expect no warrenty, that it was not a good idea at all and I should wait until one become available for me in Canada.
I can understand that it might be company policy to warrenty the product only in the country purchased. That’s not a problem, at the price Panasonic is selling the camera for I can afford a couple of shipping charges. But, it was the attitude that it was an almost idiotic idea for me to suggest getting a camera however I could with four weeks of shooting approching quickly.
I don’t think any of us are damning Panasonic without talking to them, I know David and I are both in contact with all of the reps in Canada on a regular basis. And I wouldn’t say on the whole either David or I are damning Panasonic at all, I know David swears by his DVX and I’m a huge supporter of the HVX 200 (already have 40 hours of great footage in three weeks). We’re just callling attention to and issue that has arised in Toronto.
With that all said I will be contacting Terry on Monday and offering my camera package for an event hosted at the DV Shop for his clients to see. We’ll see if he is interested.
Cheers,
Tim
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Jan,
I love how involved you are and the way Panasonic US is run, I think you guys are doing a great job. But, I’ve found there are huge differences in the way the two organizations are run. The Canada team is extremly supportive and have helped many organizations (including ones I’m involved in) with events and seminars. But, and I mean a big BUT. Sometimes they just plain suprise me. My orginzation needed an HVX 200 for a shoot and I spoke to the Candian Panasonic Reps for their suggestion on how to get one on time. They pushed me off to shops that had no idea of when they would be recieving cameras and when I suggested that we could get a camera package out of New York (Abel Cine love you guys) they quickly stated that they would not support that, expect no warrenty, that it was not a good idea at all and I should wait until one become available for me in Canada.
I can understand that it might be company policy to warrenty the product only in the country purchased. That’s not a problem, at the price Panasonic is selling the camera for I can afford a couple of shipping charges. But, it was the attitude that it was an almost idiotic idea for me to suggest getting a camera however I could with four weeks of shooting approching quickly.
I don’t think any of us are damning Panasonic without talking to them, I know David and I are both in contact with all of the reps in Canada on a regular basis. And I wouldn’t say on the whole either David or I are damning Panasonic at all, I know David swears by his DVX and I’m a huge supporter of the HVX 200 (already have 40 hours of great footage in three weeks). We’re just callling attention to and issue that has arised in Toronto.
With that all said I will be contacting Terry on Monday and offering my camera package for an event hosted at the DV Shop for his clients to see. We’ll see if he is interested.
Cheers,
Tim