Walter Biscardi
Forum Replies Created
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For a single monitor, the 23″ is the way to go. For dual monitors, two 20″ or a combination of 20″ and 23″ will work too.
There’s no “best” way to work with dual monitors. That all depends on what you’re doing at that moment. Sometimes I’ll have the Canvas filling up one monitor with everything else on the other, especially when I’m compositing. Sometimes I’ll have a timeline fill up one screen and push everything off to the other. Two monitors just give you a lot more options to re-adjust your real estate. The best thing to do is always save your Window Layout whenever you create a new setup so you can always go back to it another time.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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The key will be very good media management. You cannot allow the media to go all over the place on your drives or you’ll never be able to pull all the elements together.
Once the projects are ready to be merged, you’ll either need to bring all the media together on one computer by either attaching the other person’s harddrive or transferring all the media from their harddrive to yours. Then you open both projects at the same time. At that point, you can simply drag bins and Sequences from one project to the other. At this point I would re-name the final project as the merged project to differentiate it from the original two.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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It’s all about lighting, gamma and some blur. This requires several layers composited on each other. I generally use 3 to 4 layers of the same video stacked and composited, then apply a Boris Continuum Film filter to a nest of those layers to add the grain.
I may have to create a tutorial on this one since so many people seem to want to do this.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[protohobo] “does anyone know if there is a “remove grain” effect available for final cut?”
Remove Grain is a part of the new Cinelook 2 plug-in set. http://www.digieffects.com
It installs into both FCP and After Effects.Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[AppleFreak] “I dropped in my edited footage, DVCproHD, 23.98 PsF into an Uncompressed 10 bit Standard Def Sequence.
I am operating on a dual 2.5 with FCP 4.5, with a Kona 2 card.”Are you simply trying to downconvert this for an SD master? The Kona 2 will do this in real-time on output via your HD timelime. It’s incredibly clean with no need to render or re-set anything.
Just use the Kona 2 Control Panel and you can set the Component output to SD-DownConvert and then you can decide whether to Letterbox, Crop or Pan and Scan.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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As long as the drives support the sustained throughput needed for capture / playback of the 1080i uncompressed footage, you’ll be fine.
I run a Kona 2 with the Medea FCR2X Fibre Channel array and it’s plenty fast enough for 1080i uncompressed here. Check with ProMax on whether that array is spec’d for uncompressed 1080i work.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[honeybee] “I used capture setting is 720p60,but when I capture a clip ,it says drop frame.”
True 60fps footage from a Varicam is Drop Frame. It’s the only format that’s drop fram on the Varicam.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[isoprophlex] “IDVD is perfect though for laying off rough cuts fast.”
Actually, the easiest way to lay off a rough cut for a client or producer is to use a DVD Recorder. I have the Philips DVDR-75 which takes a feed directly out of my system. Just hit play in FCP and hit Record on the DVD Recorder.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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FCP 4.5 is not completely frame accurate as I learned during testing for an HD series. It will slip a frame or two during mastering.
FCP 5.0 appears to have fixed this issue.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Shane Ross] “Splattering white paint onto a peice of plate glass with a black background.
That is how we did it back in college. And I think the method is still alive and kicking…nothing beats the read thing.”
That’s how I would do it. You can also purchase some paint splatters from Eye Wire.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters