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FCP destoyed my original footage.
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I’m beginning to notice a trend with mac users. People find a problem, fanboys defend apple and inturn blame the user.
Ive never had a problem with premiere or avid in all the years i’ve worked on them. How unfortunate that i was made to work on a G5 for this project. The poor system sputters and lags on 35mm SD footage, i’d hate to see it what it does with real formats.
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[Ed Sully] “I’m beginning to notice a trend with mac users. People find a problem, fanboys defend apple and inturn blame the user.”
What you have described is not possible in FCP. If you’d like to see how much of a “fan boy” I am, I suggest you go back and read some of my 16,000+ posts, especially those that came out around NAB 2007 and 2008.
Apple does a lot of things wrong with Studio in general, but this issue is an operator error somewhere along the line, this is not software related.
[Ed Sully] ”
Ive never had a problem with premiere or avid in all the years i’ve worked on them. How unfortunate that i was made to work on a G5 for this project. The poor system sputters and lags on 35mm SD footage, i’d hate to see it what it does with real formats.”Of course, if you can’t get the software to work correctly or something completely unforseen has happened, then insult the software, the Apple Community and the FCP community. There’s a trend that has been on-going since FCP was introduced. Extremely professional indeed and really makes all of us want to eagerly jump in and assist you further.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
Read my Blog!
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[Ed Sully] “I already stated i have 10 years experience on NLE’s, and they are all more or less the same.”
On most levels, but not file management. Having 10 years of experience on Avid and 3 months experience on FCP is quite different than having 3 years experience on Avid, 6 years experience on Media 100 and 7 years experience on FCP.
That’s my background and FCP operates completely differently than Media 100 which operated completely differently than Avid. Avid and FCP operate fairly similarly, but not the same, especially when it comes to file management.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
Read my Blog!
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Which is how every nle operates. His original post suggests he doesn’t understand nles in general. The comment about looking at old autosaves is bewildering. If he’s looking at original media directly off the media drive capture scratch, why would looking at an old project file make a difference?
Ed, I would suggest you actually describe the process better. What do you mean you broke up the files? How did you look at the original media in an autosave? Where are you looking at the media? Not within FCP I hope. You realize that the program could easily have a corrupt project file and be accessing an older render file that doesn’t want to go away. Retrace your steps. It is definitively user error. And no, this has never happened to anyone else that I have ever heard of.
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Coincidence is not causation. You have one roll with letterbox masking, and you tested masking in Final Cut Pro.
I have seen many inconsistencies from telecine houses, but
I have never seen applying a filter in Final Cut change the original source file.If it is really costly for you to have the footage transferred again, then that cost was caused by not having a copy, and not by Final Cut. Any hard drive can fail at any time.
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“I guess FCP is no longer a NLE.”
Ah…and Avid have NEVER had any issues. Nor Media 100. Ever.
If what you describe is something that could have happened with FCP, or has ever happened before, you wouldn’t find people defending it. But what you are describing just isn’t possible. I don’t know of ANY NLE that would do what you are describing, not unless you exported a file to replace the one you are now looking at…as others have stated.
In saying that all NLEs are “all more or less the same” is a bit of a generalization. They all capture footage to hard drives, have timelines that you can edit a sequence on, and you can output to tape or DVD or web…but HOW they all do this is very different. How they deal with media is very different.
As for defending FCP…if you had a problem that is common than we’d be all over it…as we have in the past (Media Management sticks).
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Ed,
I see that you joined the cow on June 27th and this is your first post in this wonderful community. On the Cow we all try to help each other by offering workarounds for software bugs, sharing hard won expertise on software or hardware configurations, etc.
As you might be aware by reading the forums there is a lot of expertise and many seasoned professionals are willing to help with serious problems in work related matters. Bashing software or computer brands in general doesn’t add to your or our learning experience. Venting frustration is understandable, but professionals differ from amateurs in that they don’t get stuck in flame wars.
So may I suggest you take the time to give a detailed report of your workflow so we all might get some benefit out of your postings and the replies offered by others? Maybe your problem can be solved without spending a lot of money, and even if it’s operator error somewhere down the line it is a learning opportunity for us all, but only if we know the outcome.
Looking forward to your posts!
Kind regards,
Hans Vernhout
Director / lighting cameraman
The Netherlands -
[Ed Sully] “Of course hindsight is 20/20 and i should have made a copy, but i have not seen the likes of this on any other NLE for the 10 years i have been working on them, so i never saw a reason to do a backup.”
There’s no excuse for not having a backup. Just like there’s no excuse for not wearing a seatbelt, not installing a smoke detector or not wearing a helmet while cycling.
I’ve owned a boat for more than 20 years. Never had a problem. Yet I always wear an inflatable personal floatation device along with a GPS-integrated personal locator beacon. On my belt is a waterproof cell phone and a knife. It only takes one bad incident to ruin your day, and without the right gear, it could end up being your last.
Backups allow you to recover from the unexpected. If you’ve been working with NLE’s for 10 years (I’ve been doing this for 11 years on Media 100 and FCP), then backups should have been a standard operating procedure. Even if you avoid overwriting the files, there’s still the possibility of the drive crashing for any number of reasons.
My mantra is: it’s better to have it and not need it, than need it and not have it.
Be thankful you have your original film footage to fall back to. In that sense, it’s your backup. Just less convenient and more expensive than having a copy on another hard drive.
Dean Sensui — Hawaii Goes Fishing
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[walter biscardi] “Extremely professional indeed and really makes all of us want to eagerly jump in and assist you further.”
Here here walter….
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Inside look at the IoHD -
Troll!
Mark
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