Walter Biscardi
Forum Replies Created
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We archive all our projects in the native format. Why compress the file again to H.264? What if you need to edit from it in the future? I would rather have the original ProRes file than something that was compressed from that.
And when we archive, we now save the entire project via Media Manager. 1TB drives are $60 and 2TB drives are generally $100 or less these days. So we simply archive the entire project, raw media and all now. Why limit ourselves to just the finished project when drives are so cheap?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
You’re definitely going about this the right way feeding a video signal to the Ki Pro for recording. A far superior image than if you recorded to the JVC directly and converted to ProRes.
Red Giant Software sells the Primatte Keyer which is very very good in FCP. As Jerry notes, the regular keyer provided with FCP is not very good at all.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Jenna Bliss] “WHy would this happen? Is it because I renamed the projects? How can I make sure to keep render files connected? Do I have to copy the render files with the media before I open the project on a new computer?”
The project should be the same name on both computers if you can do it that way.
Also, very important, name the Media Drive the same thing on both computers so FCP is always looking at what it thinks are the exact same media arrays.
Quite honestly, Render files are THE most fickle of the files with FCP. Even with the same project, same RAID name, more often than not, they seem to disconnect when we transfer from one machine to another. No clue why, it just does.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
LHi has analog audio inputs right? The AES is digital so you can’t go there unless you have a digital converter.
Just connect to the Analog XLR input, then in the Log and Capture panel, just select Audio Only and you’re good to go.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Dan Williams] “I’ve seen it said on here that you don’t have to worry too much about being broadcast safe if it’s going to DVD.”
You should always grade for broadcast safe no matter what the final output. Unless you really want colors to bleed all over the place on consumer TVs or brights to completely wash out the image.
I’ve never understood why it’s ok to simply crank up levels just because “it’s not for broadcast.” It’s going to be played back on the same TVs and projectors that people watch broadcast TV on, correct? So why should the levels be any different?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Paul Dickin] “One possible answer, from the demo that we were shown, is that all the various audio clips that you want to assign to a single ‘virtual’ track you lump together in a single icon in the metadata ‘Event Manager’ (top left on the screenshot), and then this icon could be assigned to a particular audio output channel on your hardware or multi-track Exported track.”
No, not the same thing. It’s not the output at all. You must output an OMF to go to ProTools. When the ProTools editor opens up your OMF they will see all the audio tracks as you have them laid out in your timeline.
Nothing to do with audio channels or hardware.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Rafael Amador] “What I really would like to have are some reactions of PP and AVID users.
Personally I foresee a massive migration from those apps to FCX :-)”Based on the folks I talked to at the show floor, I foresee a migration the other way around. Most FCP editors I spoke to who are cutting broadcast shows and films are now looking at Avid and Premiere as we are here.
It’s not a matter of [Rafael Amador] “”where is my button in this cheap application that looks like iMovie”?.”
It’s a matter of professional tools that we use every single day. Just one example, assigning tracks for ProTools audio mixing. As the new FCP-X is a “trackless” editing system, how do you align all the audio tracks properly so the ProTools designer knows what is what in the mix?
Do you have the answer to that?
It’s not buttons and it’s not the new interface. It’s how does this thing work in a true professional environment when interfacing with outside tools and in stringent broadcast environments.
Do you have the answer to that too?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Phil Balsdon] “If you want to find out more about FCP-X you’d be better off looking at some of the many videos on line from the supermeet presentation.”
Tom doesn’t have to, he was at the SuperMeet as was I. As he notes, many of the features presented as “new” during the event are already in iMovie 11 so you can try them out today if you want.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Chris Kenny] “And what I’m telling you is that unless your editing monitor is a CRT, there is nothing it is doing to let you “properly” view that interlaced signal that couldn’t in principle be done in software,”
Your editing monitor does not have to be a CRT, hasn’t needed to be for several years now. There are professional Grade 1 monitors like the Flanders Scientific we keep mentioning (but you keep ignoring) that take a proper interlaced signal from a proper video card such as AJA or BlackMagic and display it properly on their LCD reference monitors.
I’m done with this discussion, if you want to recommend a computer panel with a software simulation, that’s your choice.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Chris Kenny] “The result of the de-interlacing that takes place inside an HDTV to drive, say, a 60p panel from a 60i source just produces a 60p signal that’s sent to the panel. This process could be precisely duplicated in software and used to generate an image to send to a 60p panel connected via a standard computer graphics card”
You really don’t understand broadcasting do you?
David and I are not talking about the signal that goes to the TV. We are talking about the requirements of broadcaster across the world.
If you are required to deliver a 1080i / 59.94 (or 29.97) signal to a broadcaster (which 100% of the broadcasters I work with do) then you MUST be able to view that 1080i / 59.94 (or 29.97) signal properly on your editing monitor.
If you are NOT able to properly display that signal on your editing monitor then you have the possibility of delivering a signal with mismatched interlacing issues (which David mentions) which will result in your project being rejected by the Quality Control dept. of said broadcaster, which will result in you fixing the project (on your own dime) until it clears Quality Control.
THIS is what David and I are talking about. We really don’t care what the end television / projection system does to the image. What we care about is delivering the proper image to a broadcaster or any other specific client requirements. Simply “using progressive because that’s all you need” is not the correct answer in a professional video editing environment.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media