Alister Robbie
Forum Replies Created
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So a year or so on from this initial question, has the situation changed at all? or are we still stuck being unable to decompose multiclip edits? I’ve a multicam edit that I need to do some image stabilisation on and unfortunately you can’t stabilise a multiclip…
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Editor| Post Production Consultant
The Post Project -
I’ve been running mine for 3 weeks or so and it rocks. Super fast rendering. A lot of stuff that would cause my 2010 27″ iMac to choke is no problem for this box.
Mine is the top spec iMac with 32GB RAM hooked up to a 10TB Promise RAID with a BlackMagic Design MiniMonitor handling client output.
I haven’t really had a chance to do performance testing as I have been flat out editing with it. Still, it is a great box and a huge performance boost, especially with Final Cut Pro X.
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Editor| Post Production Consultant
The Post Project -
by hitting the Show button that appears to the right of the stabilization name and checkbox, you will see the familiar sliders there that were in FCP7. you can dial in the amount of stabilisation for Translation, Rotation and Scale. this should help you get control of your wayward stabilisation..
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Editor @ The Post Project
Consultant for ToolsOnAir -
Nevermind. The client qualified the issue with their encoders. As long as the additional 4 channels are muted, the encoder will not crash. It is only when it is presented with 8 embedded channels that all have signal that the whole thing goes bum up.
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Darn. I just posted about this in an older thread. We have had this happen with 3 EX-1’s. Two we own, and one rental. All had to have the lensing system replaced. Now it has just started happening again on one that has already been ‘fixed’… 🙁
Luckily we bought a second hand HVX-202 earlier in the year, so we can continue shooting projects….
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Hi Tom,
I know this is a late response, but i have encountered this a few times now. We have sent two of our EX1’s back because of the backfocus issue, and in both instances the entire lensing system was replaced. We have also had a rental camera do the same thing, and it’s lens was replaced too. The biggest annoyance is the loss of the camera for weeks on end, and having to rent cameras to replace gear that we have bought.
I should point out that this issue seems to be different to the one fixed by the firmware. This has nothing to do with ND filters or vignetting. This is simply that the back focus goes out and there is nothing that can be done to fix it.
This is really really disappointing as we have invested a chunk of money into the Sony cameras, only to have them fail miserably over and over again. Buying cameras from the ‘big S’ is now not only costing us time, but money and potentially business.
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I had a quick look at the results after day 1 at Edgabston. Looks like Australia might have finally pulled their fingers out after that woeful effort the other week. (hopefully…)
After a late night and early morning, the tapes are now captured. The tail end of the capture was a bit quicker as there were a bunch of B Camera tapes that were quite short. woot!
All is good, and things went smoothly. One final observation, and I suspect this may be more of a Kona drivers thing than a Final Cut Pro thing, but I did notice that despite the fact the clip settings are for 1V, 4A and Final Cut Pro initially sees the clips as 1V,4A, if you re-import the clips into Final Cut Pro, it reveals that the captured clips are actually 1V,16A. This means that when i go to relink the files to other projects expecting 1V, 4A it complains that the number of Audio Tracks are different. This isn’t necessarily a major issue, but it would good to know what the problem is here. Now that I have a weekend of not capturing, I might endeavour to find out.
Cheers
Alister
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Final update on this issue. All is good. I am 22 tapes into the capture, and have done some random relinking tests and all seems to be good. The testing involves open random projects that have sequences that use the original ‘bad’ capture files and see if it all works ok. There is some relinking to be done, but it is all straight forward and smooth sailing. The hardest part now is to wait for the 40 + tapes to capture. Lucky I have had my bass guitar in the suite for the last day or so….
One tip that we discovered in the process. If you are doing this kind of batch manipulation, and decide to ditch columns in the process, beware of ditching the ‘Tracks’ column. We ditched this column, and when I imported the batch list back into FCP, Final Cut Pro ‘assumed’ that there were 1V, 2A instead of the original 1V, 4A which meant the first tape I captured would not relink to the original projects because it was missing 2 channels of audio. I ended up bouncing the batch list back into excel, re-adding the Tracks column, saving and re-importing, which worked a treat, although Neil reminded me, I could have just used the ‘Clip Settings’ option you get when you Control+Click on a clip (or set of clips) in the browser. duh. I should have known that…
Anyway, thanks again to Neil for seriously bailing me out on this one. It is greatly appreciated mate.
Cheers
Alister
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so far so good. it seems to be working. I am doing a test capture of two tapes, then doing a test replace / relink on the original files. Fingers crossed. (yes, I have backed up the original captured rushes)
Cheers
Al
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Alrighty, I just arrived in the suite for the morning. I will grab the file you sent me last night, give it a bit of a whirl and post back shortly.
Cheers
Al