Tom Meegan
Forum Replies Created
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Nest your video into a 4×3 DV sequence.
Option double click the nest from the time line to open it in the viewer.
Click the motion tab in the viewer.
Twirl open the distort paremeters.
Set Aspect Ratio to -33.
This sequence is ready to send to DV tape or DVD letterboxed, NOT anamorphic. The difference is an important one. This will look like 16×9 on monitors set to view 4×3 – the top and bottom pixels are black.
If you want anamorphic, which will display on newer sets in widescreen mode, don’t bother with the distortion parameter. FCP automatically squishes the image for you.
If none of this make a bit of sense read this…
https://www.helerab.fi/widescreen/index.html
Best,
Tom
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You closed the sequence at the same time
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I used two G-RAID 500s striped together for an 8-bit project. The programs aired on SPEED Channel. Worked well, both for capturing and editing.
If you go with this configuration, and you have real deadlines, I highly recommend a back-up of your captured media to another FW800 disk or disks at the end of each edit session. Although G-Raids are very reliable, you only have to lose one of the enclosed drives to lose everything – that is the nature of RAID 0.
Sure, you could go back and re-capture, but many projects can’t afford that loss of time.
The peace of mind was worth the time and expense.
Another option would be the RAID 3 solution from G-Tech or the RAID 5 solution from LaCie.
It depends on your and/or the project’s budget and risk tolerance.
Tom
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https://www.g-technology.com/Products/G-RAIDpro.cfm#buy
RAID 3. Worth considering, as I’ve had better luck with G-Technology than LaCie. I also seem to hear fewer complaints about G-Tech drives in general.
That being said I have not used this G-Tech product, and the LaCie FW 800 RAID 5 unit I did use was terrific.
Tom
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I would avoid the master in this situation as it will boost the gain of all the clips in the timeline.
Either nest the offending clip and then adjust the gain on the nest, or apply an audio filter with a gain control and adjust the filter to give the clip more level.
Tom
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Oh yeah, I forgot the most obvious ones! Thanks Captain.
BTW
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https://www.amazon.com/gp/product/0321256085/ref=pd_sim_dbs_b_5/104-7238743-1241558?ie=UTF8
https://www.peachpit.com/bookstore/product.asp?isbn=0321334817&rl=1
https://www.amazon.com/gp/product/0321166493/104-7238743-1241558?v=glance&n=283155
https://www.amazon.com/gp/product/0321256085/ref=pd_sim_dbs_b_5/104-7238743-1241558?ie=UTF8
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“…could you please recomend a monitor for me? or what to look for?”
Who is your audience and what is your budget? If you are creating a family video, using a consumer television will be fine. If you are doing corporate video you can get away with it, but I would not recommend it. If you are doing broadcast or cablecast work, you probably need a professional monitor.
Critical monitoring is in a transitional stage right now, so a good monitor recommendation is fairly complex. Nine months ago I would have recommended a Sony L5 20″ or 14″, but Sony has stopped manufacturing them, and there is a growing realization that many consumers are not looking at CRTs anymore. However, these are still great choices so most video applications. Ikegami and JVC are still making good CRTs. If you are going to be doing a lot of work, I would suggest you do more extensive research on your own, particularly about flat panel displays.
“…when going through FW and then RCA or BNC to the monitor (meaning using the camera) does the quality and colors reain the same? !!!!”
FW will deliver the DV signal as it comes from FCP. Composite video is what is likely to happen to your video before anyone sees it, so any slight changes in color are actually very relevant since this is what people will actually see. The difference is insignificant in the environment you are likely to be working in.
Do some research about monitor calibration. This is very important and the ability to do a good calibration is a prime reason to upgrade from a consumer television to a professional solution.
This is a slippery slope, and unless you have a lot of time and money, and good reason to spend them, I would suggest you figure out how far you want to take the color correction. For instance I assume you don’t want to replace all the lights in your edit space, completely block the windows, and paint all the walls 50% gray. I also assume you don’t want to spend 35k on monitoring and a similar amount on external scopes.
If the color correction of you project is that critical, take it to a professional colorist.
Best,
Tom Meegan