Will Griffith
Forum Replies Created
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make sure the camera menu is set to pump out HDSDI and not Standard SDI.
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composite out of IO —-> ref-in of deck.
Dropped frames could be numerous things.
You playing back off your system drive?Will Griffith
Producer -
set it to the codec that matches the largest amount of footage that will be in your timeline
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2K and 1080p seem to be fine with graded ProRes 4444 Red originated footage and older ProRes b-roll
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Why are you transcoding? Did the camera not create proxies?
If not then just use clipfinder. You should be able to put the
H.mov proxies in FCP and edit away.If you want to transcode everything to a certain size/framerate
then just set up some Compressor presets to do that. It’s much
more efficient than using FCP. -
1. several FW 800 cables?
2. made sure you are using an external AC power adaptor with the drive?Don’t give up yet.
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For b-roll I would definitely use a Canon 7D or similar and a fast lens.
There really is no better solution for the price and a club or other
low light situation.There are limitations to the camera, and the EX series basically kills
it in many other ways, but you will love the look and color you get
in a a dark room with colored lights on a SLR.here is an example someone shot in a club…
https://www.vimeo.com/8397060 -
Both suggestions given are wonderful solutions and work great with FCP,
but for a smaller operation CatDV would be best.They are more than worth the price and I’m not sure how you could sell
something for much cheaper! -
Look like HDCAM may be your best bet….
https://www.pbs.org/producers/redbook/specs/digital_television_dtv_requirements.html
Also check out the 2007 Book (search for 5.1)…
https://www.pbs.org/producers/redbook/TOS_2007_Submission_8_20_07.pdf -
I remember a specific update of 10.4 on my old MacBook Pro made everything sooo much faster.
Boot time, UI response, everything.Obviously these Apple folks really do “Think Differently”