William Carr
Forum Replies Created
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What P2 card size are you using? We use 8GB cards with our HVX-200 because they are practically a 1-1 match for DVD-DLs which even with the best quality media is cheap compared to Blu-ray, this to back up the original P2 file data. 1 DVD-DL = 1 P2 card. SImple and effective.
We shoot mostly 720 24p using pairs of 8GB P2 cards, that gives us 40-plus minutes between card swaps. This older smaller size card is now cheap to buy/rent since the higher capacities are out. When card-swapping is not practical, we have a Firestore and use both.
We also back up the accumulated converted Quicktimes to a single-platter external firewire hard drive for archive, per project. Between the DVD-DLs and external hard drives, it’s no more or less reliable than Blu-ray.
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Not meant to be facetious, but you say “I am shooting in SD at 30fps” which implies maybe you have more shooting to do, so… if it’s film look you’re after for certain projects, and if a post-production solution isn’t everything you want it to be, consider getting hold of/renting a camera that shoots 24p, they’re quite common.
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I am assuming your footage is prepared as a single timeline, meaning one exported file will be the result, not multiple clips; you mention Batch.
Regardless, if your final product is going to be a DVD then the h264 step is completely irrelevant. It’s no surprise that it’s taking forever.Fully render your timeline and export it at “Current Settings” or as a reference file and that exported Quicktime is what you will bring into Compressor. Use the preset for high quality DVD 16×9 and choose 90 or 120 minutes, I prefer ac3 audio to aiff, and you can adjust other parameters if you wish, or not.
You could also export directly from your timeline to Compressor and all the renders will be performed for the compression you choose, but that will probably take longer.
I have made many DVDs from 90-minute timelines of DVCPROHD 1080 material. The longest time it took for Compressor to make an m2v was at worst 10 hours, and that was with a G5.
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If you have certain effects/filters on a track that are processor intensive like reverb or some serious EQ, that could be an issue.
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Yes, but some of the newer AVCHD Panasonic cameras are not yet supported. We have the SD9 and those clips will not transfer/play in the latest FCS without an updated Quicktime component from Perian. See the link for details.
https://37prime.com/news/?p=99
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Thanks, gentlemen!
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Tom, would you mind giving me a push in the direction of where/how to set this up? Thanks!
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All of the above advice is right on. The more you know what others do that works well, the stronger your starting position. Some experiential points …
We used as resource several online release forms to fashion the right one for each project, and sometimes use different releases for different subjects within one project. Some are highly legalese with hundreds of words (corporate VIP or institutional subject speaking on behalf of organization, etc.), and some are very simple, just a few paragraphs (person on the street, etc.). Grabbing the opinion of the perfect stranger at a public location who has a great sound bite is wonderful serendipity– but whip out your 1,000-word release and you may kiss that moment goodbye. For all versions, must have a lawyer do a looksee and tweak.
For a location like a restaurant, the owner or legal rep of the location must sign a location release. And if you post a sign at the entry point(s) of the place stating that those who enter may be filmed for a documentary, etc. you are more covered. If you zoom in on some customer and create some good specific background action with him/her, then get a release.
As far as strangers who end up in a sequence or scene, if it is not practical or possible to get a release make sure you have some coverage of the action that allows you to use the scene but not see the person’s face for longer than a second; get some over the shoulder, frame their hands, etc. And also don’t use their voice as a principal source of info, keep it short and light.
But there is such a thing as fair use when you are shooting a documentary, after all.The bottom lime is, as said in post above, anybody can sue anyway. Study recent cases for “Borat”, which had gone as far as to purposefully humiliate strangers. They also had no releases for certain passersby on the street and subway. Although this film was seen by many millions worldwide, the issues of fair use and what constitutes “news” are interesting.
Ultimately, the proof of your intentions during the shoot and for the final material are important.Good luck!
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A work-around with real-time capture would not be unreasonable for us; on our documentaries the SD9 is for insert, b-roll, atmospherics, crowd stuff, crash-cam, etc.- important footage but not lengthy interviews or principal footage.
When the time comes we must have our footage in the edit, if Apple or Panny hasn’t provided a patch, we’ll seek out an IoHD’er who’ll rent us some capture time!