[Andy Lewis]

Thanks for your comments. I’m going to pass on the mac pro.
I agree about buying stuff when you need it, it’s just that “need” is such an elastic term – especially with shiny things.

Yes Rafael, I’d be standing behind you with the monkey wrench like in that scene in Airplane. They knew what they were doing. When the imac gets decent I/O, it will become the imac pro and double in price. I was just speculating that, if USB3 becomes ubiquitous and it has pro video uses, apple won’t be able to stop the imac eating a lot (more) of the mac pro’s dinner. And for someone like me, it will be perfect.

Or they will find another way to cripple it – kinect-style gesture control only maybe. You’ll have to edit by jumping up and down in front of it, waving your hands around. Actually that sounds pretty good.

[Andy Lewis]

If you imported the cameras with distinct names you can use find.

Press command-f in the timeline, input the name of the camera and press select all.
Then you can option-v or drag settings into all clips from that camera.

I think I got this tip from these very forums.

[Andy Lewis]

24fps is important for the same reason that if you wanted to be taken seriously as a still photographer half a century ago, you had to shoot in black and white. Colour photography was for snapshots and advertising – art was in black and white. Except in this case – 24fps is for real cinema and 50/60i is for real life (and what could look cheaper and nastier than that?)

One consequence of the DSLR revolution will be that after a ton of cheap-looking 24fps films on youtube, people will stop associating the look (24fps and shallow DOF) with Big Cinema and we will have moved on.

[Andy Lewis]

Would like to know if there’s an answer to this one.

If you open the stickies application and select note-floating window, you get a window that stays on top of fcp all the time. This has been useful for me, especially for scripts, but it does stop playback.

I’d also like to be able to edit markers on the fly. Ho hum.