Walter Biscardi
Forum Replies Created
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you should really send that to Apple. “Ok Apple, it’s Summer 2011 RIGHT NOW. Where’s my OS Lion?”
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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Summer of 2011 is not exactly “here.”
Begs the question of just how badly the ProApps will get screwed up by all the iPad touch feature navigation.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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Are you going to do any more jobs in the near future that require this converter? If not, I would just go with the DVD Recorder.
We have one here and use it constantly for client dubs, review copies, window burns, etc…. If the Dazzle or Canopus box is not something you’ll use a lot, I’m betting you’ll get more use out of the DVD Recorder.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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Final Cut Pro does not install anything to the downloads folder. As Jeremy suggests, looks like an improper or illegal install from a download and not from the original DVDs.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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ESC key.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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I guess the real question is whether the i7 is worth an 8 week wait for you. Super annoying guy not withstanding, do you need a machine sooner than two months or are you good to for the next few months while you wait?
Both machines will do the job for you.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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If they are rotating the TV, then all you have to do is essentially edit sideways. You will edit in your normal 1080 timeline, but you’ll have everything rotated 90 degrees in your Sequence.
Here’s an example of what I’m talking about. Once the TV is rotated, then the image displays correctly vertically.
As someone else mentioned in this thread, one trick in the field is to literally turn the camera 90 degrees to shoot “vertically”. This is done a lot in the fashion world so they can stay on a tighter shot of the model and she fills the screen.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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[rico b] ”
I wanted to post the question here before I begin a cycle of buying/returning.”What Michael says about the conflict is most likely accurate in your situation. You’re running into conflicts with the various drivers and the way FCP is set up.
One solution for you would be to have two boot discs in your system (assuming you’re running a Mac Pro.) You simply install a second hard drive in your computer and only install all your audio software and drivers. So when you want to do your audio mixing, you simply re-start the machine on that hard drive and your system is all set up for mixing. Then re-start the machine again to the standard boot disc to go back to editing with FCP and everything else.
Many folks do this when they run FCP and Avid on the same computer. There are VERY often conflicts between Avid and FCP so the way around this is to simply have two boot discs, one set up for FCP and one for Avid. One computer, two completely different configurations.
If you have a large enough hard drive in your laptop or iMac, you could always partition it and do the same thing, but I much prefer having two physical drives.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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[Nelson May] “I assume this is from DVCPRO HD being 720×960 and FCP wants 1280”
No, FCP does not want 1280. It will edit DVCPro HD 720 natively in the frame size. The dialogue box most likely comes from your frame rate setting. FCP is wanting to switch the frame rate to a native editing frame rate.
HDV is also an anamorphic format as are most recorded HD formats.
[Nelson May] “I am tired of getting the FCP “would you like me to fix this dialogue box”. It is killing my confidence and I want to walk away and stop learning. But I do want to have a good handle on the basics so I can go on to using more plug ins.”
Why are you tired of it? It’s there to help you. If you don’t have your timeline set up absolutely correctly to get the most realtime performance, FCP is asking if you’d like it to fix that situation. WE use it all the time and depending on what we’re doing, we’ll let it change or decline.
There are dozens of HD cameras, formats, frame rate, frame size, codec combinations. Trying to learn them all at once will make your head spin. Even I don’t know all of them. What I do is concentrate on what I need to know right now. That is, what cameras / workflows am I working with. I get to know and understand those.
When a new camera / codec is being presented to use for a project, then we research that (usually here on the Cow) and add that to our knowledge base. What I find is too many people try to learn too much at once about HD and formats. Just learn what you need to know about your workflow, once you master that and know it like the back of your hand, start adding more codecs into the mix.
One great guy to follow / search for in these forums and in the articles is Gary Adcock. He’s a walking encyclopedia of HD, 2k and up. If you ever go out to NAB, be sure to check out the Post Production workshops they have out there.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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[Mike Fox] ” I know how to locate the Vectorscope under video scopes but am curious to how or even if many professionals check on it prior to capturing. I’m aware there is a default setting but are there cases when one would need to make adjust adjustments?”
You can open up the Vector / Waveform panel in the Log and Capture window as well, but it’s just for show quite honestly. Unless you’re running a capture card that allows for adjustments during ingest, all those panels will do is show you what the footage looks like.
With the wealth of color correction tools at your fingertips, it’s much easier to simply ingest everything and fix later. I’ve used a TBC exactly twice in the past 8 years and both times was for a rental 3/4 VTR to at least get the thing to lock up to picture.
So no, with FCP we really don’t make any adjustments on the way in. Just edit, and then correct the material you actually used.
FYI, I was on Media 100 for 6 years and still miss the incredibly easy offline / online workflow and the project based settings. The big thing you have to get used to in FCP is the fact that all of your System Settings (Capture Scratch for example) are global to the application. So if you have multiple projects on multiple scratch discs, you have to manually check that the project is being rendered to the correct capture scratch. I’m hoping at some point in the near future Apple will finally fix this.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.