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Problems printing to video
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I’m sure you are mocking me now, but I’ll bite because I’ve had
a couple of beers and it’s a nice night here in Seattle for blogging 🙂The thing that made FCP different from AVID was it was scalable.
You could edit your buddy’s wedding on DV or edit a four camera
simultaneous timecode show or sitcom from DigiBeta masters uncompressed.
FCP handles both, but the requirements are quite different, both from an
equipment and live operator standpoint. Nobody with any sense
would have bought an $100,000 Media Composer to edit a wedding
but they could buy FCP and so could a lot of the rest of us and
we could use it for offline work in our office instead of an edit
suite. Thus FCP had a market that AVID decided to pass on.Unfortunately for some of us, more time was spent by Apple
to be able to be all things to all people, and less time to be a
“pro” app that does things fast and easy with regard to
getting stuff in and out of it if you used anything other than DV.
It’s MUCH better than it used to be
and don’t get me wrong, I won’t go back to having my hands
tied by AVID, but it still could use some work in this area.
The two biggest areas that need work are how it handles the uprez,
(start your edit in DV then use MM to recapture only the media
you used in your sequence at uncompressed or HD)
and how you input and output footage to a deck.
Obviously you know the latter is a problem because you yourself said
you refuse to even try to do it with FCP. You just hit record on your deck.
So if, in your case, you don’t need to ever look at timecode
or ever have to deliver a tape to anyone that has timecode that
matches your sequence or your field tapes, then FCP is still there for you.
But for many of us, timecode is a way of life when it comes to
matching what we do with other people working on other elements of a show.Dan
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[Danrnw] “But for many of us, timecode is a way of life when it comes to
matching what we do with other people working on other elements of a show.
“Jeepers!
I wish I had me one of them TIMECODERS down here in Sloppyville.
Mebby when we git on the city power we can order one from Sears.
Do you have to set it, or does the govermint guy come out to adjust it?
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so much for taking your seriously. My bad.
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[Danrnw] “so much for taking your seriously. My bad.”
Your “BAD” was being so condesending about being a “pro” and finding fault with someone offering a possible workaround for an editor who was in a jam.
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I didn’t find fault with your workaround so much as
I disagreed with your description of FCP’s edit-to-tape as a “feature”,
in that we should take it or leave it. At least that’s the way it sounded to me.
Many of us could not use FCP
if it could not edit back to tape timecode on whatever deck you have.
As I said before, it hit a nerve and got me worked up.As far as being condescending, I wasn’t doing that on purpose. I usually try to
justify my positions by explaining to the other person why I say
what I say. Maybe that sounded condescending and if so, I apologize.As far as the problem she is having, the solution is a firewire PCI card
if she keeps using firewire drives. Don’t you think?
It will only cost her $50 or so.
And certainly I would suggest a full render of the entire sequence,
both video and audio. This results in less hunting and gathering
from the drives and should make throughput easier….no?Dan
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Agreed.
But the “Mixdown” the Audio for playback” is a separate and very useful command.This suggestion has been posted countless times, and more often than not, it can cure the “dropped” A and/or V.
On the other matter.
I make hundreds of dubs going out to stations.
:30 B&T, a slate, program material.
I don’t bother with setting the TC (other than a reset off the top). No need.There are times when it is needed if I’m working with a click-track and/or scratch-track or a general rough mix and I need ADR, sweetening, or otherwise interact with another audio or post house.
Or when I might want to insert into the middle of a finished tape.
For client TC previews, I just send ’em a burn-in window dub on VHS or DVD.
They can’t play a BSP or Digibeta (or even a DV) anyway.Lots of ways to use FCP w and w/o TC.
Sorry, getting VERY late here.
Peace. -
[Danrnw] “Outputting to tape and editing to a specific timecode number is a
BASIC part of any professional editing system. And unfortunately
with FCP, it’s always been problematic, and a real reason why
many AVID Media Composer users are reluctant to switch to FCP,”Nice rant, however, IIRC, Edit to Tape on Avid and FCP both require you to black tape, backtime preshow elements – so it’s pretty much the same technique. IOW, TC is not automatically layed to tape nor is it output by the NLE. No NLEs I know send TC to my knowledge. It’s the deck that lays down code. Avid has a lot of cool pro features, but ETT is pretty much the same in both worlds.
Kevin Monahan
Take My FCP Master’s Workshop!
fcpworld.com
Pres. SF Cutters -
Wow, I had no idea what I was starting when I asked for help. Thanks to all who proviided helpful info. I will get another card and hopefully that will solve the problem.
Julie
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[Julie B] “I will get another card and hopefully that will solve the problem.”
Don’t forget to let us know how it works for you.
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It wasn’t your doing Julie. I was in a rant kind of mood last night.
I disagree with Kevin about when it comes to
edit to tape monitoring and ease of use. There are no VUs or
timecode info to tell you where you are in the show.
And that window that shows sequence playback is the wrong
aspect ratio…it shows non-square pixels.
When you already have an NTSC monitor you don’t need FCP
taking up processor time with that window.
It would be better to have timecode and VUs showing what’s
really happening with FCP output.Dan
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