[Tom Matthies]

Ouch!

[Tom Matthies]

Amen! …sort of.
Where I work, we do projects anywhere from Web graphics up to and including 10-bit uncompressed HD. You always want to work in the best resolution possible of course, but in this business you also have to play the cards you are delt. Whether it’s a misinformed client or a penny-pinching, not-quite-up-to-speed manager, there are times when DV25 is going to be the format that has to be used. Indeed it may be the only format. For many, it is of sufficient quality to get by with. For many it’s all they need. For many, it’s all they have. I’ve seen some very crappy high definition footage and I’ve seen some very good footage shot on MiniDV. We’d all like to eat steak, but if macaronni and cheese is all that you have, it beats starving. And it tastes pretty good sometimes.
Bad management decisions (or realistic ones due to budget constraints) will often dictate a working enviroment. Often there is no other choice but the one chosen for who-knows-what-reason. I guess the trick here is to make the best and most efficient use of the tools you have available. If all you get to play with is DV25-make it look like the best damn DV25 project ever done. Content is still king. It just doesn’t hurt to look good too.
My 2

[Tom Matthies]

SIIG makes a PCIe FW800 card. It has three ports on the card. I’m running one in my Quad G5 to control a G-Raid. It works well. I also have an Aja Io connected to the internal FW400 port on the G5. No problems conflicting with the G-Raid at all. For what it’s worth, I’m also running a Kona 3 card for High Defination and a SCSI card controlling a Huge raid. That pretty much used up all my PCIe slots.
And…I’m running a pair of striped 250Gb FW800 drives for smaller projects and a single FW400 for sneaker-netting files off of the SIIG card as well.
All this is happily living on a Quad G5 with no operational problems that I have noticed.
How’s that for packing it all in?
Tom

[Tom Matthies]

I usually shoot a 10-step log grey scale chart on any scene I know I will need to correct when shooting video.Using a grey scale chart will allow you to use all three of the eye drop samples on each scene. It will be very fast and fairly easy to get a good rough color grade from your scenes without much trouble at all.
tom

[Tom Matthies]

select all of the clips with the timecode filter on them, control click on the clips, select remove attributes and select filters. That should remove ALL of the filters from your clips.
Tom

[Tom Matthies]

I’m running 5.1 crossgrade right now. It’s registered with Apple. I just went to Software update under the Apple menu. I’m actually in the middle of a project right now(several actually) so I was just looking to see if the update was available. I’m not going to do the upgrade until I finish up what I’m currently working on. I also have the software for the crossgrade for my home system (just got it this week) but haven’t had time to do it yet.
I’m more curious than anything. Just wondering why it wasn’t showing up under the software update pulldown.
tom

[Tom Matthies]

DVMatte works fine with FCP 5. I’m actually rendering some green screen effects using DV Matte as I write this post. Currently running FCP 5.1. Upgrade when I finish this project.
tom

[Tom Matthies]

Thanks Steven.
I tried your method and it worked just fine. Since each bin is footage destined for a different timeline, I exported each one separatly. I then exported the edited sequences finished so far as EDL’s and they actually came into the Avid clean and worked with no problems. Sometimes ya just get lucky I guess.
Thanks for the tips guys.
Tom

[Tom Matthies]

Just make the crawl in PhotoShop with the logo(s) right in as part of the graphic, put it on the timeline at the proper size, add two keyframes to move it across the screen and there you go! Very simple.
Tom

[Tom Matthies]

A PC formatted drive perhaps? Is it formatted for Mac OS?
Tom