Walter Biscardi
Forum Replies Created
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[Rahul Duggal] “or especially an iPad would be so darn tempting .”
Now a dedicated iPad app I could see with the additional real estate of that device. I’ve played with the Tangent Wave Lite app and I’m working with another developer of a color grading app for the iPad.
In those cases, the iPad becomes a true controller, not just a shortcut call up. Jog / shuttle / Scrolling the timeline, controlling the 3 Way CC tool or Colorista Tool, running the audio faders in realtime, controlling video in the Viewer or Canvas, etc…
Things like that would turn the iPad into a nice surface controller that could almost replace a Wacom tablet and if it was done right, a mouse. If you have an iPad, download the Tangent Wave Lite and see how nice that works when in Color. I’d love to see more development of full control surface type of apps for FCP, Soundtrack Pro and Motion.
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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[Marcus Ingram] “(ie. 23.98 fps, 1826×1080 frame size, Photo-JPEG Pixel Aspect and etc)”
Those are huge, especially for an SD project. Do you need to do a lot of zooming way in on the images? You can resize the photos to be smaller and then reduces the finished file size. I use Photoshop to re-size all my photos / graphics to the minimum size I need to do the work in the timeline. If there is no zooming or movement required, then I would make the images as close to 720×480 as I can.
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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[Sean Kapleton] “I have watched a few and I must say I like robbie’s Lynda.com the best…now if they would just have him do an advanced class and a resolve 101!”
Robbie Carmen is awesome. I’m hoping to get him down to our new shop to do some workshops on color correction and Resolve soon….
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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One question I have is do you have to edit in the AIC codec? That’s a pretty old, clunky codec that’s not really all that great for editing when you have much better codecs like ProRes at your disposal. You won’t have any weirdness with transitions and filters.
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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Shortcut buttons in the interface are much more useful and efficient than using your iPhone for keyboard commands.
Tools > Button List
Put the commands you use the most in the Sequence window. This is what I’ve been doing for years. Much easier than using my keyboard, tablet and iPhone all at once.
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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Nothing happens when you right click the offending clip and select “Remove Attributes?” That should reduce the file back to its original size.
FCP cannot just “cut off” video from a frame that you cannot retrieve. You might have to distort the image, but you can bring it back.
As for Compressor, sounds like you had it set to 100% of Source when you tried to make your conversion. Therefore all of the videos retained their original frame sizes.
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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[Brian Thomas] “I read that in FCP I can “Freely edit a combination of HD and SD…” Is it really that straightforward – I just drag the .mov files (separately created from “Capture” and “Log and Capture” as appropriate) and start editing? Any disadvantages?”
You can “freely edit HD and SD” together but you will still be rendering all of your HD footage in the SD timeline before you can complete the edit. AND you need a very beefy hard drive array and computer so it will all work in realtime preview.
So yes you can do this, but in practice most of us do convert the footage. We own AJA Kona video cards to do all of this in realtime for us.
If you are downconverting anyway, why not just set your HD cameras to record in SD so you essentially do the conversion on the fly? Or can those cameras be set to record in SD? Most HDV cameras for example can be set to record in DV.
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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[Jeremy Garchow] “You can always off-line in LT or Proxy as well and online your final timeline to ProRes.”
This is very true, but then you have to deal with the whole Media Manager deal which is still clunky at best for offline / online workflow. Great for archiving projects, but I would not use it for offline / online. Just get a few more 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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[Wayne Marx] “I’d like to be able to keep all the footage on one primary 1TB hard drive – and I can only do that if I transcode to LT [Prores SQ is, of course, around 4 times the file size].”
Really? A single 1TB drive for “10 trillion hours” of material? Please do yourself a favor and get a multi-drive array or stripe a couple of drives inside your Mac Pro as a RAID.
Here’s the thing, you get that 1TB drive about 60% full, it’s going to start slowing down. 70%, slower. 80% starting to dog. 90% crash city.
And then there’s all your renders which means that will take up exactly the same amount of storage that’s in your timeline.
If you have a lot of footage, over 75 to 100 hours or more, then step up to a multi-drive array. WeibeTech makes a sweet RTX series from 1 to 8 drives in a single chassis. You can go down to Best Buy, Fry’s or whatever electronics store is handy to pick up multiple 1 or 2TB SATA drives (Fry’s had 2TB for $109 each a few weeks ago). Slap them into the RTX and RAID them together.
Presto, 2 to 8TB RAID and you’ll have plenty of storage plus plenty of speed for your edit. My rule of thumb is estimate how much storage you will need for a project and then at least double it. I recently completed a documentary project with 250 hours of material and used up almost an entire 8TB Array between the edit, After Effects Renders, Color Renders, Motion Renders and Graphics files.
And for the edit, go ProRes. You say PBS but not HD Broadcast? PBS is Broadcast so I’m assuming it’s going to be broadcast somewhere. So don’t drop to LT just to save space. ProRes is small as it is.
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 you’re looking for another computer display go with the Dell 24″ ultra sharp monitor. That’s what a lot of us use. Similar in quality to the ACD’s but much cheaper.
Apple REALLY loves their hardware….
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.