[Tom Wolsky]

Thanks Mitch.

And congratulations! When did you become a trainer?

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs

[Tom Wolsky]

1. Shoot it if you need it. If you don’t need to deliver an HD widescreen format don’t shoot it.

2. That’s up to the client. There is real HD-DVD delivery yet, aside from commercially produced discs. If the client can playback HDV tape and that’s what he/she wants, then shoot, edit and deliver on HDV tape.

3. There is no problem editing HDV if your computer is fast enough. The material has be compiled into MPEG-2 HDV when you output, but that’s not a problem, just a fact of life of working with an interframe compression format. You could capture to uncompressed HD, but you’d better have honking, great big fast arrays to support that. But not much point really unless you have a broadcast delivery channel to go to.

Start at the end. What’s the client want, how do you deliver that, what’s the best format, most cost effective way to deliver that, and then get to what should I shoot to deliver that format.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs

[Tom Wolsky]

Curious why you decided on the glossy version. Could you say why you pick that?

Thanks.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs

[Tom Wolsky]

You can make an .m2t file using Compressor. In the Encoder panel go to the Extras tab and check the box for a multiplexed transport file.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs

[Tom Wolsky]

As an editor I rue cameramen who shoot just enough. Just enough is usually not enough. My partner describes the first time she went out on a network shoot, (I won’t tell you what it was to protect her age) came back with great footage, editor called her in and counted time on each shot. Each shot was just enough. This was in tape days with TOD TC, so just enough was not enough.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs

[Tom Wolsky]

DPI is what is used by scanners to generate pixels. The higher the DPI the more pixels scanners will generate, producing larger images. The problem with DPI is that it also produces lots of patterning and very high resolution pixelization creating moir

[Tom Wolsky]

It’s pretty bad that Apple can’t be bothered to make this work properly. You can’t compare Sony and JVC. Their GOP structures are different so they work differently. You could try reducing the pre-roll on device control. Take it down to one second to see if it will shorten your loss of material. What TC format are you using BTW?

Finally, camera operators should really not be shooting 10 second shots. Ideally they should be providing three seconds pre-roll and post-roll. That leaves a four second shot area. From a producer and editor’s point of view that’s just not acceptable.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs

[Tom Wolsky]

You mean you applied a cross dissolve, it was working, and it isn’t displaying the dissolve anymore? What are you seeing when you play back?

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs

[Tom Wolsky]

It’s a small Marshall HD monitor. I’m not so much concerned about the way it looks on the laptop computer. I can drive that to display anything I want. I’m concerned about the scopes in FCP, because that’s what we’re using to drive the luma values of the image.

These are new 17″ MacBook Pros.

“FCP is not showing proper black levels with any HD content in 5.1.2”

Well, that’s not good. Is it showing black as setup, what I’m seeing on the scopes? Would that mean the overall levels the scopes are showing are even higher than they are, i.e. the whole luma range is shifted upward?

This horrible cycle of fix one thing and break two is really taking its toll on this application. Not being able to direct capture to the laptop with timecode is a real crusher that was introduced a couple of revs ago.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs

[Tom Wolsky]

Only on a Mac.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs