Andrew Schuurmann
Forum Replies Created
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LHe was in the wrong slot. (pre-2008 MacPro) Moved it to slot 3 (where it is supposed to be) and all is well.
I got suspicious when it couldn’t even play a single DV clip without lagging.
So, chalk it up to me rushing through the install process.
Sorry to waste your reading time but maybe this is a lesson for others.Andrew
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What if you just made two new “master” tapes? This would appear to take longer but might end end up saving lots of time and headache when trying to online again. It would work like this:
1) Digitize full rez and then create the two multiclip sequences with the appropriate audio.
2) Dump these sequences to tape — basically you’re creating new source tapes.
At this point, you can either: a) recapture the tapes lo rez and create your multiclip from there (you’d digitize from those “new” tapes when onlining); or b) export a reference movie of each multiclip sequence and then create a multiclip from them (you’d still end up digitizing from your “new” tapes).
Hopefully I understand what you’re trying to accomplish — maybe this would do the trick.
Andrew
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Yes, Color Finesse was my answer… the interface is a little different, and I couldn’t really get the FCP values to translate exactly, but I managed to get the look about the same.
Thanks for your thoughts.Andrew
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It was totally worth it for us, but as everyone has already said, it depends on your workflow. We share 5 FCP stations and a graphics station and it’s allowed us to take our collaboration as a team to a new level.
We’re using an IdeaRaid from Archion and it’s been great — rock solid and basically transparent in our workflow. We considered Facilis but it was a few years ago when they were just coming on the market and didn’t have the track record they do now. We also considered Xsan but were concerned about how complicated it might be to administer/maintain.
It’s definitely a large investement but I’d say it’s already paid for itself in the amount of time saved for us.Andrew
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Do you have any other filters applied to the clips? I’ve noticed when using Nattress that sometimes the effect may change/look different depending on what order it’s in in the filters tab.
Andrew
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Hi guys,
I’ve had this same problem with Apple’s 10 bit codec in SD (using the AJA Kona NTSC 10 bit Uncompressed easy setup on my Quad G5 with a LHe — all drivers, versions, etc. up to date). It showed up on the whites on a bunch of the picture-in-picture style effects I had in the edit (scaled to less than 100%). I ran out of time (deadline), so I ended up moving everything to an 8 bit timeline and the problem went away. I vaguely recall hearing that Apple’s 10 bit codec isn’t reliable (maybe from Gary Adcock?), but I didn’t think about it until now.
Not that any of this info helps solve the problem, but I wanted to let you know it’s not just your system.
Let me know if I can provide any more info.Andrew
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What are you outputting to?
We always output 4 audio channels (typically a stereo mix and then a split)to DVCPRo 50 via SDI… it’s more about setting up FCP correctly than anything with the LHe.Andrew
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I haven’t ever been able to figure out the logic behind this, but when we’ve had that problem in the past, it’s been because of a read/write issue to the capture disk… when there’s a lot of traffic on our SAN and I’m capturing, I’ll occasionally get the phantom timecode breaks, but when the traffic slows down, I can re capture no problem.
So maybe something’s going on with your Xsan?Andrew
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If the sequence isn’t too long you could dump it out to tape without rendering (don’t use Print to Tape or Edit to Tape — just hit play in the seq and record on the deck) and then recapture.
Have you tried putting the clip in After Effects and rendering it out that way? I’ve always liked AE’s render engine better than FCP’s.
Andrew
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Thanks for your feedback, guys.
Zak, great idea on the roving — I’ll give it a try. I think I can sort out the timecode issues when I rebatch.
Dan, how would I make a multiclip for each song? Do I make subclips from each hour long tape ISO? Or is there another way?
And the bigger question is, once I make a multiclip for each song, how can I preserve the hundreds of edits I made with the “big” multiclip? Could it be as simple as replacing the “big” multiclip footage with the smaller one?
My project size is well over 350MB (scary)… I’ve got the “big” multiclip in six different sequences (but three of those multiclips are collapsed), and that’s pretty much it (aside from the bins for my captured ISOs). Seems like things shouldn’t be that big.
Thanks again for your thoughts and feedback.Andrew