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First FCP TV
Hi,
We are putting together our first 30 min. Tv program in FCP after years with Sony Vegas.For some reason we put actual black, bars and tones, slate etc on the timeline for the full 30 minutes instead of using the program to add the media when printing to tape.
I need to decide which way to go in FCP. If we don’t put the bars and tones etc on the timeline I’m concerned that the closed captioning may not have pre roll time to sync.
Anyone have some ideas as to workflow?
Thanks!
Larry
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7 Replies
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I always put bars, tone, and slate right on the timeline. It’s just more foolproof that way.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.
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We also do that.
set sequence time to appropriate start time usually 59:00:00 except PBS and a couple others.
40 sec bars (tone set to -20db) 5 sec black 10 sec slate 5 sec black PGM at 01:00:00:00
we also enable trailer black min 30 sec on mastering settings. Just remember to deselect trailer if you are inserting into a tape to fix a small segment or it’ll print black for 30 sec after your out pointDoug Beal
Editor / Engineer
Rock Creative Images
Nashville TN -
Same here. I like my final timeline to be an exact reproduction of the master tape, including the bars etc. that way if someone calls and says your master is horked you have evidence to prove them wrong 😉
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Eric Susch
http://www.LetsKnit2gether.com
http://www.EricSusch.com
Follow me on twitter @EricSusch -
As a further safeguard, we often take a master and then play it out to a DVD recorder with BITC. That way we have an unalterable copy of what was delivered which we can run back and check.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
[Eric Susch] “if someone calls and says your master is horked you have evidence to prove them wrong 😉
“Of course we know they only call to rave about how great everything was, but it’s still a good idea to watch your back.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.
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I’ll be the contrarian and say that I rarely put the bars/tone/slate in the timeline.
I like to have the sequence duration in the browser/bin be the duration of program content.
To each his own.
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I’ve never actually had a master tape rejected (knock on wood) but I have gotten phone calls about “problems.” Sometimes the QC people flag the strangest things. I remember once on a film project I had a tail sync pop flagged as a “frame not rendered.”
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Eric Susch
http://www.LetsKnit2gether.com
http://www.EricSusch.com
Follow me on twitter @EricSusch
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