[Will Griffith]

You can try dupliucating the channels and stacking if you need more volume,
but you will of course add a alot of ambient noise.

Take the modified segments into STP, select an area with a lot of noise and no vocals, then
select process “set noise print”, then select all the noisy segments and apply process->reduce noise then adjust to your liking. Not ideal, but should help some.

Will Griffith
Producer/Editor

[Will Griffith]

>>drop a wireless lav on the groom’s lapel
…just make sure the groom turns it off before and after the ceremony. 🙂

You could also just do some ADR on it. 🙂
Would be hilarious in a bloopers section.
Make it sound like a quality kung-fu movie.

Will Griffith
Producer/Editor

[Will Griffith]

Your ethernet board has been fried.

This makes the machine lose its MAC(machine) address(es).
Final cut and most other pro apps use your machine address
to searialize the liscense. No MAC address….no FCP.

Your best bet is to take it to the Apple Store and say “my ethernet ports
are not working” and hope they don’t ask you any more questions.
They will need to replace the entire logic board.

sorry.

Will Griffith
Producer/Editor

[Will Griffith]

Just using a Quad G5 and a 2.2Ghz Cor Duo MacBook Pro last night side by side I noticed
that disk speed makes a pretty big difference when editing in FCP. The Quad G5 wins hands
down IMO.

Now compressor on the other hand… I think is tailored to Intel chips because the MacBook Pro
is easily 50% faster encoding the same clips.

After Effects (CS3) is faster rendering on the MacBook as well. It stinks that they did not write
the software to take advantage of G5 multicore processors.

Will Griffith
Producer/Editor

[Will Griffith]

#1 priority – get the shot. With anything “live” make sure it is lit well and do not
make any camera moves which distract from the event.

#1a – Get EXCELLENT audio. Moving lips is not enough.

After you have all of this covered then you can worry about making it filmic or not.

I would just suggest using a filmic custom preset for the coloring and leave it in 60i.
Later on the couple may want the original tapes and it will be really tough for them
to play back 24f in anything.

The couple will be tearing up later because of what happened that day, not that it’s filmic
(even if 24p is more dramatic…which it is).

Will Griffith
Producer/Editor

[Will Griffith]

Easy Setup “HDV 1080p 24”.
Or use “HDV 1080i60” if using 60i or 30p.

Will Griffith
Producer/Editor

[Will Griffith]

In your final output timeline you could also just apply a couple pixel black matte to the area
if you don’t want to crop everything.

Will Griffith
Producer/Editor

[Will Griffith]

True, but It is a little harder to notice if it is an interview, etc.
Hopefully some creative editing will solve the problem. 🙂

[Will Griffith]

It is a lot easier to make 60i look like 24f.
If it is narrative then I would go that route.

If it is sports or fast action then it will be tough,
especially if it was shot at a slow shutter of 48, etc.
If it was 60 or higher then it may mix ok, but it depends
on what the footage looks like, how many pans, hand held,
etc.

You should be able to just capture as 1080 60i HDV
if you want to go that route.

[Will Griffith]

Overall – Impressed
Overall On Quad Intels (3ghz w/ATI 1900) – Super Impressed.
Overall On Quad G5 2.5 – Impressed, but miffed about ProRes Capture

FCP – Seems even more solid, love the multiformat timeline and other little things
Motion – Really starting to come into its own. Tracking tool needs some work.
Compressor – Love the new layout but Qmaster and multi machine rendering is JUNK.
(#1 thing I want fixed)
Soundtrack – haven’t messed with it much yet
Color – Wow. Absolutely screams through uncompressed 1080p stuff we have. Love it.

It just irritates me that something we’ve been waiting on (Compressor render farm) is
just not there yet. We could be using this NOW, and I really wish they could get it right.