Saturday, October 31, 2009

[FCP-L] Re: OT: OL RED CENTRE PK

Ian,

> IAN WILSON wrote:
> Oliver, there was never any intention to announce Scarlet stuff
> yesterday, that was always due on the 30th November.Yesterday was
> always just an EPIC day.

That may well be true. I'm merely going by the speculation of owners that I know and the comments made on REDuser itself. The point of my comment was that based on Jannard's own comments, Scarlet appears to be late 2010 if at all.

What they did in 2008 was present users with a 5-year developmental roadmap and let every fanboy believe they could deliver it in 1 year. Clearly that's not the case, for all the obvious and understandable reasons. This stuff's harder than it looks ;-)

> The test will be if they meet that date.
> It will be interesting to see whether they go after Cannon in terms of
> price. How much extra would one pay for a Scarlet over a 7D?

I don't believe they have the manufacturing resources to make that happen. Let's say they matched a 7D in price, including glass. If they match the sales potential (10's of thousands of cameras) they wouldn't be able to deliver. So why drop the price, when you can sell all that you can produce at a higher price?

- Oliver

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Re: [FCP-L] Happy Halloween!

Hmmm good point.

I'd say its "snobbish to have an opinion" when your "opinion"  is dismissive (which is what bothered me (If you care to know).

There were a lot of other people who couldn't care less about you or I or our opinions. Its the Internet.

But its fine, man... you have that right... we live in a great world and great time.

george

Since when is it snobbish to have an opinion?

D

David Dodson
 

[Non-text portions of this message have been removed]

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Re: [FCP-L] Happy Halloween!

Hmmm good point.

I'd say its "snobbish to have an opinion" when your "opinion"  is dismiss (which is what bothered me (If you care to know).

There were a lot of other people who couldn't care less about you or I or our opinions. Its the Internet.

But its fine, man... you have that right... we live in a great world and great time.

george
 


--- On Sat, 10/31/09, James Culbertson <albion@speakeasy.net> wrote:


 



An editor's worst nightmare? A Director's Halloween trick on us

editors?

I enjoyed it nevertheless.

James

On Oct 31, 2009, at 12:18 PM, johnrobmoore wrote:

> Had it been an SNL piece it would have been about a minute and no

> humor would have been lost. It certainly was a tremendous technical

> and craft achievement. Seems overkill in length to me (pun intended)

> or should I say "Over and Over kill" Even as a show piece it could

> have easily been half the length. Wonder whose credit card footed

> the bill?

>

> --- In FinalCutPro- L@yahoogroups. com, Multimediac <mr_ree_mann@ ...>

> wrote:

> >

> > "Indulgent" sounds pretty snobbish to me David. Usually the

> curmudgeonry here bitches about the shakey cams and godawful

> production value. He had no shortage of great make up, effects,

> acting, and footage.

> >

> > I thought it was a great showpiece and original... the fact it was

> long amplified it was a slow brutal death.

> >

> > George

> >

> >

> >

> >

> >

> >

> >

> >

> >

> >

> >

> >

> >

> > Good lord, indulgent is the word.

> >

> >

> >

> > Why in heaven's name would anyone spend that much time and that

> much money on a one-gag bit that they've protracted into 10

> agonizing (and I don't mean that in a good way) minutes?

> >

> >

> >

> > As it's been well-noted, brevity IS the soul of wit.

> >

> >

> >

> > D

> >

> >

> >

> > David Dodson

> >

> > davidadodson@ sbcglobal. net

> >

> > 818-541-1225

> >

> > 818-523-0905 mobile

> >

> >

> >

> > ____________ _________ _________ __

> >

> > From: Barry Stevens <bazza76@mac. com>

> >

> > To: FinalCutPro- L@yahoogroups. com

> >

> > Sent: Sat, October 31, 2009 1:46:39 PM

> >

> > Subject: Re: [FCP-L] Happy Halloween!

> >

> >

> >

> > Any idea what this high budget, indulgent ,but quite clever,- piece

> >

> > was shot on?

> >

> > On 31 Oct 2009, at 04:54, James Culbertson wrote:

> >

> >

> >

> > > http://www.youtube. com/watch? v=9VDvgL58h_ Y

> >

> > >

> >

> > >

> >

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> >

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>

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[Non-text portions of this message have been removed]

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Re: [FCP-L] Re: OL RED CENTRE PK

On 01/11/2009, at 2:50 AM, Oliver said
<SNIP>
>
> As I expected, it shows that the Scarlet isn't anywhere close to
> ready. Even after being redesigned to compete with the HDSLRs it is
> having to be redesigned yet again. Looks like this release is
> targeting the higher-end users and trade-up RED One owners first.
>
> - Oliver

Oliver, there was never any intention to announce Scarlet stuff
yesterday, that was always due on the 30th November.Yesterday was
always just an EPIC day.

The test will be if they meet that date.
It will be interesting to see whether they go after Cannon in terms of
price. How much extra would one pay for a Scarlet over a 7D?

Ian Wilson
Colortape Productions
Ian@colortape.tv
0418 327 082
Via iPhone

>


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Re: [FCP-L] Happy Halloween!

Since when is it snobbish to have an opinion?

D
David Dodson
davidadodson@sbcglobal.net
818-541-1225
818-523-0905 mobile


________________________________
From: John Kilgour <john@digitalcut.com>
To: FinalCutPro-L@yahoogroups.com
Sent: Sat, October 31, 2009 10:02:08 PM
Subject: Re: [FCP-L] Happy Halloween!


I agree with George. Jealous, David?? lol - it was a funny bit.

On Oct 31, 2009, at 2:09 PM, Multimediac wrote:

> "Indulgent" sounds pretty snobbish to me David. Usually the
> curmudgeonry here bitches about the shakey cams and godawful
> production value. He had no shortage of great make up, effects,
> acting, and footage.
>
> I thought it was a great showpiece and original... the fact it was
> long amplified it was a slow brutal death.
>
> George
>
>
>
> Good lord, indulgent is the word.
>
> Why in heaven's name would anyone spend that much time and that much
> money on a one-gag bit that they've protracted into 10 agonizing
> (and I don't mean that in a good way) minutes?
>
> As it's been well-noted, brevity IS the soul of wit.
>
> D
>
> David Dodson
>
> davidadodson@ sbcglobal. net
>
> 818-541-1225
>
> 818-523-0905 mobile
>
> ____________ _________ _________ __
>
> From: Barry Stevens <bazza76@mac. com>
>
> To: FinalCutPro- L@yahoogroups. com
>
> Sent: Sat, October 31, 2009 1:46:39 PM
>
> Subject: Re: [FCP-L] Happy Halloween!
>
> Any idea what this high budget, indulgent ,but quite clever,- piece
>
> was shot on?
>
> On 31 Oct 2009, at 04:54, James Culbertson wrote:
>
> > http://www.youtube. com/watch? v=9VDvgL58h_ Y
>
> >
>
> >
>
> [Non-text portions of this message have been removed]
>
> [Non-text portions of this message have been removed]
>
>
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>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]


[Non-text portions of this message have been removed]

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Re: [FCP-L] Happy Halloween!

An editor's worst nightmare? A Director's Halloween trick on us
editors?

I enjoyed it nevertheless.

James


On Oct 31, 2009, at 12:18 PM, johnrobmoore wrote:

> Had it been an SNL piece it would have been about a minute and no
> humor would have been lost. It certainly was a tremendous technical
> and craft achievement. Seems overkill in length to me (pun intended)
> or should I say "Over and Over kill" Even as a show piece it could
> have easily been half the length. Wonder whose credit card footed
> the bill?
>
> --- In FinalCutPro-L@yahoogroups.com, Multimediac <mr_ree_mann@...>
> wrote:
> >
> > "Indulgent" sounds pretty snobbish to me David. Usually the
> curmudgeonry here bitches about the shakey cams and godawful
> production value. He had no shortage of great make up, effects,
> acting, and footage.
> >
> > I thought it was a great showpiece and original... the fact it was
> long amplified it was a slow brutal death.
> >
> > George
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > Good lord, indulgent is the word.
> >
> >
> >
> > Why in heaven's name would anyone spend that much time and that
> much money on a one-gag bit that they've protracted into 10
> agonizing (and I don't mean that in a good way) minutes?
> >
> >
> >
> > As it's been well-noted, brevity IS the soul of wit.
> >
> >
> >
> > D
> >
> >
> >
> > David Dodson
> >
> > davidadodson@ sbcglobal. net
> >
> > 818-541-1225
> >
> > 818-523-0905 mobile
> >
> >
> >
> > ____________ _________ _________ __
> >
> > From: Barry Stevens <bazza76@mac. com>
> >
> > To: FinalCutPro- L@yahoogroups. com
> >
> > Sent: Sat, October 31, 2009 1:46:39 PM
> >
> > Subject: Re: [FCP-L] Happy Halloween!
> >
> >
> >
> > Any idea what this high budget, indulgent ,but quite clever,- piece
> >
> > was shot on?
> >
> > On 31 Oct 2009, at 04:54, James Culbertson wrote:
> >
> >
> >
> > > http://www.youtube. com/watch? v=9VDvgL58h_ Y
> >
> > >
> >
> > >
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
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> > [Non-text portions of this message have been removed]
> >
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>
>

[Non-text portions of this message have been removed]

------------------------------------

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Re: [FCP-L] Happy Halloween!

Had it been an SNL piece it would have been about a minute and no humor would have been lost. It certainly was a tremendous technical and craft achievement. Seems overkill in length to me (pun intended) or should I say "Over and Over kill" Even as a show piece it could have easily been half the length. Wonder whose credit card footed the bill?


--- In FinalCutPro-L@yahoogroups.com, Multimediac <mr_ree_mann@...> wrote:
>
> "Indulgent" sounds pretty snobbish to me David. Usually the curmudgeonry here bitches about the shakey cams and godawful production value. He had no shortage of great make up, effects, acting, and footage.
>
> I thought it was a great showpiece and original... the fact it was long amplified it was a slow brutal death.
>
> George
>
>
>
>
>
>
>
>  
>
>
>
>
>
> Good lord, indulgent is the word.
>
>
>
> Why in heaven's name would anyone spend that much time and that much money on a one-gag bit that they've protracted into 10 agonizing (and I don't mean that in a good way) minutes?
>
>
>
> As it's been well-noted, brevity IS the soul of wit.
>
>
>
> D
>
>
>
> David Dodson
>
> davidadodson@ sbcglobal. net
>
> 818-541-1225
>
> 818-523-0905 mobile
>
>
>
> ____________ _________ _________ __
>
> From: Barry Stevens <bazza76@mac. com>
>
> To: FinalCutPro- L@yahoogroups. com
>
> Sent: Sat, October 31, 2009 1:46:39 PM
>
> Subject: Re: [FCP-L] Happy Halloween!
>
>
>
> Any idea what this high budget, indulgent ,but quite clever,- piece
>
> was shot on?
>
> On 31 Oct 2009, at 04:54, James Culbertson wrote:
>
>
>
> > http://www.youtube. com/watch? v=9VDvgL58h_ Y
>
> >
>
> >
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> [Non-text portions of this message have been removed]
>
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>
> [Non-text portions of this message have been removed]
>


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[FCP-L] Re: Apple HDV Codec Field Order?

Turns out they recapture from tape and all is well. I'll find out in a while how different the levels are. I'm use to HDV coming in peaking at 110%ish but all the clips (before recapture) were pretty washed out and low in overall level. Could have been shot that way originally but nothing was over 100% so it felt like it had some change to the original. As to the field order can you speculate why it needs to be imported as even to work correctly in Avid? Since it has to be converted first to a compatible codec I figure that could be causing it. I tried animation and Avid Packed codec and both had to be imported even lower first.

--- In FinalCutPro-L@yahoogroups.com, "Andy" <andymees@...> wrote:
>
ftware.com/QXD.asp
>
> >Is the Apple HDV codec really lower field normally or is my need for conversion causing a field order swap?
>
> No, HDV is an upper field codec.
>

> Best
> Andy
>


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Re: [FCP-L] Happy Halloween!

I agree with George. Jealous, David?? lol - it was a funny bit.

On Oct 31, 2009, at 2:09 PM, Multimediac wrote:

> "Indulgent" sounds pretty snobbish to me David. Usually the
> curmudgeonry here bitches about the shakey cams and godawful
> production value. He had no shortage of great make up, effects,
> acting, and footage.
>
> I thought it was a great showpiece and original... the fact it was
> long amplified it was a slow brutal death.
>
> George
>
>
>
> Good lord, indulgent is the word.
>
> Why in heaven's name would anyone spend that much time and that much
> money on a one-gag bit that they've protracted into 10 agonizing
> (and I don't mean that in a good way) minutes?
>
> As it's been well-noted, brevity IS the soul of wit.
>
> D
>
> David Dodson
>
> davidadodson@ sbcglobal. net
>
> 818-541-1225
>
> 818-523-0905 mobile
>
> ____________ _________ _________ __
>
> From: Barry Stevens <bazza76@mac. com>
>
> To: FinalCutPro- L@yahoogroups. com
>
> Sent: Sat, October 31, 2009 1:46:39 PM
>
> Subject: Re: [FCP-L] Happy Halloween!
>
> Any idea what this high budget, indulgent ,but quite clever,- piece
>
> was shot on?
>
> On 31 Oct 2009, at 04:54, James Culbertson wrote:
>
> > http://www.youtube. com/watch? v=9VDvgL58h_ Y
>
> >
>
> >
>
> [Non-text portions of this message have been removed]
>
> [Non-text portions of this message have been removed]
>
>
>
>
>
>
>
>
>
>
>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]

------------------------------------

To learn more about the FinalCutPro-L group, please visit
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Re: [FCP-L] Happy Halloween!

"Indulgent" sounds pretty snobbish to me David. Usually the curmudgeonry here bitches about the shakey cams and godawful production value. He had no shortage of great make up, effects, acting, and footage.

I thought it was a great showpiece and original... the fact it was long amplified it was a slow brutal death.

George

 



Good lord, indulgent is the word.

Why in heaven's name would anyone spend that much time and that much money on a one-gag bit that they've protracted into 10 agonizing (and I don't mean that in a good way) minutes?

As it's been well-noted, brevity IS the soul of wit.

D

David Dodson

davidadodson@ sbcglobal. net

818-541-1225

818-523-0905 mobile

____________ _________ _________ __

From: Barry Stevens <bazza76@mac. com>

To: FinalCutPro- L@yahoogroups. com

Sent: Sat, October 31, 2009 1:46:39 PM

Subject: Re: [FCP-L] Happy Halloween!

Any idea what this high budget, indulgent ,but quite clever,- piece

was shot on?

On 31 Oct 2009, at 04:54, James Culbertson wrote:

> http://www.youtube. com/watch? v=9VDvgL58h_ Y

>

>

[Non-text portions of this message have been removed]

[Non-text portions of this message have been removed]











[Non-text portions of this message have been removed]

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To learn more about the FinalCutPro-L group, please visit
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Re: [FCP-L] Re: OL RED CENTRE PK

I think they are making the mistake of talking too much rather than
concentrate on expanding their research and production capacities and
someone else may beat them. The technology that is now available to
Red is also available to everybody else, including the established
big guys and the new small independent guys.

At 31-10-2009 16:50, oliverpetersvidy wrote:
>
>
>Also info here:
>
><http://reduser.net/forum/showthread.php?t=37011>http://reduser.net/forum/showthread.php?t=37011
>
>and
>
><http://red.cachefly.net/OctoberPost.jpg>http://red.cachefly.net/OctoberPost.jpg
>
>As I expected, it shows that the Scarlet isn't anywhere close to
>ready. Even after being redesigned to compete with the HDSLRs it is
>having to be redesigned yet again. Looks like this release is
>targeting the higher-end users and trade-up RED One owners first.
>
>- Oliver


[Non-text portions of this message have been removed]

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[FCP-L] Re: OL RED CENTRE PK

Also info here:

http://reduser.net/forum/showthread.php?t=37011

and

http://red.cachefly.net/OctoberPost.jpg

As I expected, it shows that the Scarlet isn't anywhere close to ready. Even after being redesigned to compete with the HDSLRs it is having to be redesigned yet again. Looks like this release is targeting the higher-end users and trade-up RED One owners first.

- Oliver

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Re: [FCP-L] Production question: Lights

Sorry. The light is made by made by Mole-Richardson and comes in
three versions: a 650W, 1000W, and 2000W.

You reduce the likelihood of reflections on glasses by lighting from
the side, either with a 650 or 1000w bouncing off a white card, and
another white card on the other side that provides fill.

The Softlight will do the same thing as the 650 or 1000W light. I
have used this setup many times over the years with a high degree of
success.

The use a practical or a backlight (or both) to give your subject a
really nice look.

Lighting is really not my forte' but I have many very good gaffers
and cameramen over the years.

Don't know where you are but if your in the southeast Michigan area
give Charlie Scott a call.

Bill
On Oct 30, 2009, at 7:39 PM, Doug vanderHoof wrote:

>
> On Oct 30, 2009, at 9:04 AM, Bill Affleck wrote:
>
> > rent a 1000w nun for the key, use the foamcore
> > for fill, and work your backlight any way you can. This system, by
> > the way, if positioned correctly, can take all light reflection off
> > glasses.
>
> Bill,
> I give up. I went several pages deep on google for 1000w nun and it
> just got more unlikely. What is that?
>
> Also, how does this setup help keep light out of glasses?
>
> Thanks in advance.
>
> Cordially,
> Doug
>
> Doug vanderHoof
> Chicago
>
> [Non-text portions of this message have been removed]
>
>
>

Bill Affleck
Wasteland Productions, Inc.

[Non-text portions of this message have been removed]

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[FCP-L] OT: After Effects Training

I'm working on a quote that will be for a client in Kansas City, MO. One
of the items they want me to quote is onsite After Effects CS4 training.

Anybody on list know of a qualified AE trainer who would be able to do
onsite training in Kansas City? The client wants a quote for the
training and all expenses.

I've priced myself for three days of onsite FCP7 training for them, but
I'm not qualified for AE.


Brian Conner


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Re: [FCP-L] Happy Halloween!

Good lord, indulgent is the word.

Why in heaven's name would anyone spend that much time and that much money on a one-gag bit that they've protracted into 10 agonizing (and I don't mean that in a good way) minutes?

As it's been well-noted, brevity IS the soul of wit.

D

David Dodson
davidadodson@sbcglobal.net
818-541-1225
818-523-0905 mobile


________________________________
From: Barry Stevens <bazza76@mac.com>
To: FinalCutPro-L@yahoogroups.com
Sent: Sat, October 31, 2009 1:46:39 PM
Subject: Re: [FCP-L] Happy Halloween!


Any idea what this high budget, indulgent ,but quite clever,- piece
was shot on?
On 31 Oct 2009, at 04:54, James Culbertson wrote:

> http://www.youtube. com/watch? v=9VDvgL58h_ Y
>
>

[Non-text portions of this message have been removed]


[Non-text portions of this message have been removed]

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Re: [FCP-L] Happy Halloween!

Any idea what this high budget, indulgent ,but quite clever,- piece
was shot on?
On 31 Oct 2009, at 04:54, James Culbertson wrote:

> http://www.youtube.com/watch?v=9VDvgL58h_Y
>
>

[Non-text portions of this message have been removed]

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[FCP-L] OL RED CENTRE PK

Worth a listen as they have talked with Ted Schilowitz about the new
RED announcements, you can subscribe to the PK through iTunes, it's
called REDCentre, or just go to their Websitehttp://www.fxguide.com/
redcentre Its audio only and will even stream on your iPhone.

Ian Wilson
Colortape Productions
Ian@colortape.tv
0418 327 082
Via iPhone


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Re: [FCP-L] Cannot "Media Manage" a subclip?

a clarification:

if you trim the TAIL of a clip, you will get one frame back on the tail.

On 31/10/2009, at 3:58 PM, Nick Meyers wrote:

> there are few tricks to Media Manage contiguous sub clips.
>
> 1. make them dis-contiguous.
> in my (PAL) experience, this means removing TWO frames from between
> the clips.
> you will get one back on the M'd file, but the gap in FCP has to be
> two frames.
>
> 2. Checkerboard the clips in a timeline, and do two passes of Media
> Management
>
> 3. Don't Media Manage at all, use the BATCH EXPORT.
> you will lose logging notes and markers, if any.
>
> nick
>
> On 31/10/2009, at 6:54 AM, Tod Hopkins wrote:
>
> > Yes, there is a reel name, but that's really useful to know, thanks.
> >
> > This is not a new frustration. I've tried this before with other
> > material and eventually just given. In fact, I've carefully followed
> > Apple's step by step instructions for breaking down long clips by
> > subclipping (in the manual) and discovered that unless there is a
> > solid gap of unused media between two subclips, Media Manager will
> not
> > throw anything away.
> >
> > But know that I think of that, I was able to make that work before
> > with some kind of trick. Hmmm? Maybe I need to go find those old
> > notes.
> >
> > Cheers,
> > tod
> >
> > On Oct 30, 2009, at 3:46 PM, Shane Ross wrote:
> >
> > > Does this said clip have a REEL name associated with it? MM
> doesn't
> > > do squat unless there is a reel name.
> > >
> > > -shane.
> > >
> > >
> > >
> >
> > Tod Hopkins
> > Hillmann & Carr Inc.
> > todhopkins@hillmanncarr.com
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]

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[FCP-L] Re: Apple HDV Codec Field Order?

>It is my understanding through bleery eyes that there is no PC QT codec for the Apple HDV, can someone confirm this?

There is no free one John (not that Im aware of) but you can get Calibrated Software's XD Decode quicktime component for windows which allows you to use all the codecs in Apple's own HDV codec component bundle.
http://www.calibratedsoftware.com/QXD.asp

>Is the Apple HDV codec really lower field normally or is my need for conversion causing a field order swap?

No, HDV is an upper field codec.

>Assuming the Sebsky tools conversion was done correctly will the source time code reflected in the Avid timeline be an accurate to the original field tapes?

Yes, should be.

>If so then I'm thinking it will be quicker to recapture of tape than have to
import the entire QT clips. Plus relinking the QT media seems to be problematic
due to the typical Avid imported media issues when trying to relink or
reconnect.

To my recollection that always used to be the way FCP to Avid was handled as the source media never used to be compatible.

>Lastly could anyone speculate on what video level differences I might expect if we do recapture off tape. I can only imagine that the trip through QT import will yield different levels that a capture SDI off tape. Hopefully that will be small sense I've already color corrected the show with the imported media.

Unless there is something seriously wrong with your capture equipment then the capture via SDI should not mess with your levels. That said, you can always capture some test footage to compare.

Best
Andy

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Friday, October 30, 2009

Re: [FCP-L] Happy Halloween!

No?

But hey, if that's your boogieman, go for it.


On Oct 30, 2009, at 10:25 PM, Multimediac wrote:

> A spoon being a metaphor for illegal immigration?
>
> g
>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]

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Re: [FCP-L] Happy Halloween!

A spoon being a metaphor for illegal immigration?

g

[Non-text portions of this message have been removed]

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Re: [FCP-L] Cannot "Media Manage" a subclip?

there are few tricks to Media Manage contiguous sub clips.

1. make them dis-contiguous.
in my (PAL) experience, this means removing TWO frames from between
the clips.
you will get one back on the M'd file, but the gap in FCP has to be
two frames.

2. Checkerboard the clips in a timeline, and do two passes of Media
Management

3. Don't Media Manage at all, use the BATCH EXPORT.
you will lose logging notes and markers, if any.


nick


On 31/10/2009, at 6:54 AM, Tod Hopkins wrote:

> Yes, there is a reel name, but that's really useful to know, thanks.
>
> This is not a new frustration. I've tried this before with other
> material and eventually just given. In fact, I've carefully followed
> Apple's step by step instructions for breaking down long clips by
> subclipping (in the manual) and discovered that unless there is a
> solid gap of unused media between two subclips, Media Manager will not
> throw anything away.
>
> But know that I think of that, I was able to make that work before
> with some kind of trick. Hmmm? Maybe I need to go find those old
> notes.
>
> Cheers,
> tod
>
> On Oct 30, 2009, at 3:46 PM, Shane Ross wrote:
>
> > Does this said clip have a REEL name associated with it? MM doesn't
> > do squat unless there is a reel name.
> >
> > -shane.
> >
> >
> >
>
> Tod Hopkins
> Hillmann & Carr Inc.
> todhopkins@hillmanncarr.com
>
> [Non-text portions of this message have been removed]
>
>
>

[Non-text portions of this message have been removed]

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[FCP-L] Happy Halloween!

http://www.youtube.com/watch?v=9VDvgL58h_Y


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Re: [FCP-L] Production question: Lights

Wes,
Just my two cents on light output. Depending on the camera you are using, a 1K could be overkill. The newer cameras don't need much light to look good. I have been using the Panasonic 900 and 200 cameras and find that a 300 or 350 watt light is often perfect for a key with a 100 or 150 for fill and backlight, plus a small highlight on the background. If I use a 650w light, it is normaly with a Chimera to soften it. The smaller lights also give off less heat (something the talent/subject will appreciate - so will you if its a small room).
Gregg Foster
Meredith Video Solutions
ParentsTV
BetterTV

-----Original Message-----

From: Wes Plate <wes@automaticduck.com>
Subj: Re: [FCP-L] Production question: Lights
Date: Fri Oct 30, 2009 7:27 pm
Size: 12K
To: FCP-L <FinalCutPro-L@yahoogroups.com>


Thank you to everyone for your replies.

I'm going to visit with a local reseller who also rents this kind of gear
and start off renting, then when I find I need to buy I'll use all your
awesome info.

--
Wes Plate
Automatic Duck, Inc.
http://www.automaticduck.com




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Re: [FCP-L] Cannot "Media Manage" a subclip?

Same thing in Avid - if you consolidate subclips but the handles overlap on
two subs, you don't get what you ask for. Not done this in FCP.


On 30/10/2009 19:54, "Tod Hopkins" <hoplist@hillmanncarr.com> wrote:

> Yes, there is a reel name, but that's really useful to know, thanks.
>
> This is not a new frustration. I've tried this before with other
> material and eventually just given. In fact, I've carefully followed
> Apple's step by step instructions for breaking down long clips by
> subclipping (in the manual) and discovered that unless there is a
> solid gap of unused media between two subclips, Media Manager will not
> throw anything away.

>
> Tod Hopkins
> Hillmann & Carr Inc.
> todhopkins@hillmanncarr.com
>
>

+++
With best wishes,

Roger Shufflebottom
Avid Certified Instructor
http://www.bottom-line.tv
Tel: +44 1992 535 031 (UK)
Mobile: +44 7973 543 660


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Re: [FCP-L] Production question: Lights

On Oct 30, 2009, at 9:04 AM, Bill Affleck wrote:

> rent a 1000w nun for the key, use the foamcore
> for fill, and work your backlight any way you can. This system, by
> the way, if positioned correctly, can take all light reflection off
> glasses.


Bill,
I give up. I went several pages deep on google for 1000w nun and it
just got more unlikely. What is that?

Also, how does this setup help keep light out of glasses?

Thanks in advance.

Cordially,
Doug

Doug vanderHoof
Chicago

[Non-text portions of this message have been removed]

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Re: [FCP-L] Non-tape based consumery cameras that work with FCP?

On 8/26/09 4:53 PM, "craigseeman" <cseeman@optonline.net> wrote:

> I don't think there are any current consumer cameras that record DV to flash
> or hard drive.
> There are SD and HD cameras generally record some variation of MPEG depending
> on brand and model.
>
> Personally I'd recommend looking at the Canon HD AVCHD cameras. It's not a
> fast import if that's what you're looking for but it'll go to AIC in iMovie
> and either AIC or ProRes in FCP.
>
> For SD look at Canon FS 200 for $299
> For HD look at Canon HF 200 for $599
> Assuming inexpensive is the goal.

The HF200 does allow its .MT2 files to be converted to ProRes via Log and
Transfer but I can't seem to get FCP to see the .MOD files created by the
FS200.

Craig, do you know if the FS200 is supposed to be able to have its media be
ingested via L&T?


--
Wes Plate
Automatic Duck, Inc.
http://www.automaticduck.com


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Re: [FCP-L] Production question: Lights

Thank you to everyone for your replies.

I'm going to visit with a local reseller who also rents this kind of gear
and start off renting, then when I find I need to buy I'll use all your
awesome info.


--
Wes Plate
Automatic Duck, Inc.
http://www.automaticduck.com


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[FCP-L] Re: Another RED workflow Q

> What kind of offline issues anyway? rendering?
> Ken

Performance is poor. Dropped frames. You are working in a native codec that isn't real-time at full quality and that you can't render back to. The M-proxies are 1K QT reference files that are always linking back to the full-data-rate 4K camera files. So you have an image that is worse than a high-quality SD conversion to offline-edit with.

IMHO, the only reason that people decide to offline edit something like a feature film this way is because they are too impatient to wait for transcoding before they start.

- Oliver

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Re: [FCP-L] Cannot "Media Manage" a subclip?

Yes, there is a reel name, but that's really useful to know, thanks.

This is not a new frustration. I've tried this before with other
material and eventually just given. In fact, I've carefully followed
Apple's step by step instructions for breaking down long clips by
subclipping (in the manual) and discovered that unless there is a
solid gap of unused media between two subclips, Media Manager will not
throw anything away.

But know that I think of that, I was able to make that work before
with some kind of trick. Hmmm? Maybe I need to go find those old
notes.

Cheers,
tod


On Oct 30, 2009, at 3:46 PM, Shane Ross wrote:

> Does this said clip have a REEL name associated with it? MM doesn't
> do squat unless there is a reel name.
>
> -shane.
>
>
>

Tod Hopkins
Hillmann & Carr Inc.
todhopkins@hillmanncarr.com

[Non-text portions of this message have been removed]

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Re: [FCP-L] Cannot "Media Manage" a subclip?

Does this said clip have a REEL name associated with it? MM doesn't
do squat unless there is a reel name.

-shane

On Oct 30, 2009, at 12:43 PM, Tod Hopkins wrote:

> Here's what I want to do...
>
> I have a very long master clip and a much shorter subclip. I would
> like to make a new master clip from the subclip, associated with a new
> media file containing only the media needed AND I don't want to lose
> the original, longer media file.
>
> Seems simple, but FCP simple won't do this. It goes through the
> motions, but the subclip remains a subclip and remains linked to the
> original. No new copy.
>
> I believe the only workaround is to cut the subclip into a sequence
> making an "affiliate" clip and then media managing the affiliate clip.
>
> Is this really my only option? Has this been "fixed" in version 7?
>
> Cheers,
> tod
>
> Tod Hopkins
> Hillmann & Carr Inc.
> todhopkins@hillmanncarr.com
>
>
>

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[FCP-L] Cannot "Media Manage" a subclip?

Here's what I want to do...

I have a very long master clip and a much shorter subclip. I would
like to make a new master clip from the subclip, associated with a new
media file containing only the media needed AND I don't want to lose
the original, longer media file.

Seems simple, but FCP simple won't do this. It goes through the
motions, but the subclip remains a subclip and remains linked to the
original. No new copy.

I believe the only workaround is to cut the subclip into a sequence
making an "affiliate" clip and then media managing the affiliate clip.

Is this really my only option? Has this been "fixed" in version 7?

Cheers,
tod


Tod Hopkins
Hillmann & Carr Inc.
todhopkins@hillmanncarr.com

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[FCP-L] Re: Another RED workflow Q

Maybe, but the offline is almost finished. It was done at another facility. I'm just interested in the finishing workflow. What kind of offline issues anyway? rendering?

Ken

--- In FinalCutPro-L@yahoogroups.com, Oliver Peters <oliverpeters@...> wrote:
>
> Ken,
>
> > Posted by: ksiru
> > Client shot completely on Red 4K. Offline editing is on FCP 23.98
> > with M Proxies. This is a 90 minute film.
>
> Cutting a 90 min. feature from proxies is going to be painful.
>
> Sincerely,
> Oliver
>


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[FCP-L] Apple HDV Codec Field Order?

I would like to start by thanking the Apple engineer who came up with the Apple "only" HDV codec.  How could you know that after a week of double shifts I wanted to stay at work till 5:30 am sorting out field order issues on a PC Avid SN classic.  Can someone tell me why the import field order into an Avid needs to be even not odd (which is the opposite of what most HD graphics are etc....)  If a qt is in the Apple HDV codec does that mean it was captured into FCP native through firewire?

Here is my problem.  A show was started in FCP then moved to Avid using Sebsky tool.  This was done on a Mac Avid.  The media was brought in already imported and then consolidated to the online Avid SN classic on PC.  Almost if not all the Sebsky'd clips have field order issues.  It is my understanding through bleery eyes that there is no PC QT codec for the Apple HDV, can someone confirm this?  The only way I could get to the original QTs was to open them in QT pro on my macbook pro and export them as animation or Avid Packed Codec.  I could not use DNX because of backwards compatabiliy of the new DNX codec to the old DNX on the symphony.  I know that is just a download thing and will suggest that fix for DNX.  Once I've converted the QTs to a PC friendly codec I found that they must be imported as lower field first to avoid the field order issue I'm seeing.  Is the Apple HDV codec really lower field normally or is my need for conversion
causing a field order swap?

Assuming the Sebsky tools conversion was done correctly will the source  time code reflected in the Avid timeline be an accurate to the original field tapes?  If so then I'm thinking it will be quicker to recapture of tape than have to import the entire QT clips.  Plus relinking the QT media seems to be problematic due to the typical Avid imported media issues when trying to relink or reconnect.

Lastly could anyone speculate on what video level differences I might expect if we do recapture off tape.  I can only imagine that the trip through QT import will yield different levels that a capture SDI off tape.  Hopefully that will be small sense I've already color corrected the show with the imported media.

Sorry for all the questions I haven't slept much in a week do to double shifts so I'm a little more frazzled tha usual.  TIA   I'm cross posting to both L's for advice.

John Moore

Barking Trout Productions

Studio City, CA

bigfish@pacbell.net

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Re: [FCP-L] Production question: Lights

Those are cool (pun intended) but a little pricey (The Roscor ones,
righ?). Of course, MOST of the options are pricey.

Do you find you have to get them too close to the subject? Do they
have enough "throw?" I definitely love the look, but it seemed like
you had to get them in pretty close to the subject for them to do
anything. But I haven't used them on a real shoot, just seen demos.
Can you give a more explicit recommendation? I'd love to hear it.

On Oct 30, 2009, at 12:20 PM, Allan Smith wrote:

> Guys, we have gone to using "Light Panels" and absolutely love them.
> That
> would be our recommendation!


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Re: [FCP-L] Production question: Lights

Guys, we have gone to using ³Light Panels² and absolutely love them. That
would be our recommendation!
Best,
Allan

Allan Smith, Director/Producer
DreamQuest Productions, LLC
3053 Rancho Vista Blvd., Suite H-210
Palmdale, CA 93551
661.492.3188
www.dreamquest.tv


On 10/30/09 7:04 AM, "Bill Affleck" <baffleck@centurytel.net> wrote:

>
>
>
>
> Steve has the right solution for a single person medium to CU shot.
> You can also buy a 150w photoflood and hang it for a backlight.
> However one caveat: you are dealing with a lot of different color
> temperatures. Make sure you balance for the most pleasing.
>
> If you have the money, rent a 1000w nun for the key, use the foamcore
> for fill, and work your backlight any way you can. This system, by
> the way, if positioned correctly, can take all light reflection off
> glasses. If you have furniture in the shot, use a practical lamp for
> backlight or background light.
>
> Happy shooting.
>
> Bill Affleck
> Wasteland Productions, Inc.
> On Oct 29, 2009, at 8:33 PM, Andy Edwards wrote:
>
>> > Can you just rent a kit at your location if you don't want to spend a
>> > bundle at B&H?
>> >
>> > Don't forget a reflector in the mix as it can help with the bounce if
>> > you only have a small kit.
>> >
>> > Andy Edwards
>> >
>> > On Oct 29, 2009, at 5:58 PM, Wes Plate wrote:
>> >
>>> > >
>>> > > I'm soon going to be interviewing some folks, and I figure the one
>>> > > thing I
>>> > > have zero of available to me is any lighting. I haven't really
>> > thought
>>> > > about lighting since college and surely things have changed since
>>> > > then, but
>>> > > looking at B&H's web site it all seems properly pro-priced and my
>>> > > budget is
>>> > > rather modest.
>>> > >
>>> > > I don't think I want a light ON the camera, this isn't the news, I'm
>>> > > thinking your basic three or two light setup, but modest.
>>> > >
>>> > > --
>>> > > Wes Plate
>>> > > Automatic Duck, Inc.
>>> > > http://www.automaticduck.com
>>> > > .
>>> > >
>>> > >
>> >
>> > [Non-text portions of this message have been removed]
>> >
>> >
>> >
>
> Bill Affleck
> Wasteland Productions, Inc.
>
> [Non-text portions of this message have been removed]
>
>
>
>
>

[Non-text portions of this message have been removed]

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[FCP-L] Bragging again

Gentlemen Broncos, which was edited at Alpha Dogs, comes out today.

http://www.foxsearchlight.com/gentlemenbroncos/


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Re: [FCP-L] Video Archive - What are you using?

Doesn't Chronosync do bit comparison?

Thanks.

Benny Christensen
Producers Playhouse
Oklahoma City
405-858-0700

"There is only one thing that can kill the Movies, and that is
education." - Will Rogers

On Oct 30, 2009, at 11:38 AM, Tod Hopkins wrote:

> Hard drives. Nothing else is practical in our workflow. I use a
> Blacx dock and bare drives. I am nowhere near as pessimistic about
> near term viability of bare hard drives (3-5 years) and think the need
> to spin-up or otherwise verify drives on the shelf is somewhere
> between overblown and absurd (yes, I have done the research)
> especially if you have two copies.
>
> Invest in a good, fast interface, preferably eSata. Avoid USB at all
> costs. It's too damn slow.
> Establish a workflow that assures that you have actually copied what
> you intended. The biggest danger is an error in the original backup
> process itself.
> (Can anyone recommend an OSX copy utility that actively verifies or a
> reliable bit compare?)
> Run a disk check (or "verify") as the last step before putting the
> drive away.
> Make two independent copies.
> Do not make your second copy from your first copy. Ideally, your
> second copy should be stored "off site."
> Consider using two different drives models (or at least manufacturing
> runs) to avoid getting two drives with the same flaw. There is no
> reason at all for the drives to match.
> Establish an archiving system that will allow you to easily locate
> what you backed up.
> Consider spending a bit more for "enterprise" class drives. They are
> not that much more expensive and are built to higher standards.
> Do not buy the latest and greatest models/capacities. Stick with
> "work horse" models that have an established reputation.
>
> Have fun.
>
>
> Tod Hopkins
> Hillmann & Carr Inc.
> todhopkins@hillmanncarr.com
>
>
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>

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Re: [FCP-L] Video Archive - What are you using?

Hard drives. Nothing else is practical in our workflow. I use a
Blacx dock and bare drives. I am nowhere near as pessimistic about
near term viability of bare hard drives (3-5 years) and think the need
to spin-up or otherwise verify drives on the shelf is somewhere
between overblown and absurd (yes, I have done the research)
especially if you have two copies.

Invest in a good, fast interface, preferably eSata. Avoid USB at all
costs. It's too damn slow.
Establish a workflow that assures that you have actually copied what
you intended. The biggest danger is an error in the original backup
process itself.
(Can anyone recommend an OSX copy utility that actively verifies or a
reliable bit compare?)
Run a disk check (or "verify") as the last step before putting the
drive away.
Make two independent copies.
Do not make your second copy from your first copy. Ideally, your
second copy should be stored "off site."
Consider using two different drives models (or at least manufacturing
runs) to avoid getting two drives with the same flaw. There is no
reason at all for the drives to match.
Establish an archiving system that will allow you to easily locate
what you backed up.
Consider spending a bit more for "enterprise" class drives. They are
not that much more expensive and are built to higher standards.
Do not buy the latest and greatest models/capacities. Stick with
"work horse" models that have an established reputation.

Have fun.


Tod Hopkins
Hillmann & Carr Inc.
todhopkins@hillmanncarr.com

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