[Andy Mees]

‘q‘ for toggling between canvas and viewer
not my favourite, but useful. also ‘w‘ for toggling between wireframe modes.

[Andy Mees]

i watched the online demo’s … looked like it has some real ‘real world’ potential. there are a lot of stations starting to use FCP as a primary tool in promo production. the benefit of a simple versioning aid is obvious.
having said that it seemed a little convoluted in design, tho i’d imagine that a streamlined workflow could be set up. it will be interesting how well it integrates with other automation methods and software. that may determine how successful it will be.

[Andy Mees]

sorry John

not currenty possible in FCP
you can scroll the timeline yourself without stopping playback, but theres no setting to do it for you

best
Andy

[Andy Mees]

you might want to have a look/read at barefeats.com

they’ve looked at the Sonnet4x4
https://www.barefeats.com/hard44.html

the Highpoint RocketRAID 1820A
https://www.barefeats.com/hard42.html

and the Highpoint RocketRAID 2220A
https://www.barefeats.com/hard53.html

they were pretty happy with the Sonnet 4×4 performance
but didn’t seem so pleased with the 1820A, seemed a bit flaky (there may have been driver updates since then)
the 2220 looked interesting for their RAID5 support

hope it helps
Andy

[Andy Mees]

Hey Justin

if you’re looking to turn journaling off for your media drives then you can do it from the terminal:
sudo diskutil disableJournal /Volumes/VOLUMENAME (where VOLUMENAME is the name of the target media drive)

if you’re not comfortable in Terminal then I’d recommend “Cocktail”, which is a great little bit of shareware for dealing with up a host of otherwise tricky OSXy things
you can get it here: https://www.maintain.se/cocktail/index.html

cheers
Andy

[Andy Mees]

[MPE] “IF you want FCP to fly – turn off RT Extreme. Yep – you read that right. This is the biggest hinderance to FCP GUI speed”

RT Extreme ? are we talking FCP’s “Unlimited RT” vs “Safe RT” or OS X’s Quartz Extreme ? … please feel free to share your insights! 🙂

thanks
Andy

[Andy Mees]

hey there McNibbons

regarding Media Managing your project:
i pretty sure you don’t need to be doing this … Automatic Duck’s Pro Export plugin will strip the video for you when creating the OMF, you just need to let the plugin work its magic, creating an omf of the original project sequence (or a copy of it). it’s a non-destructive process. you only send the audio guy the omf file, not the project and media.

and i’m not sure about FCP’s omf’s not importing into ProTools correctly either … FCP’s omf export ignore’s any audio gain keyframes, filters or effects and exports only the straight audio cut (rather than automatic duck’s plugin which keeps all that work inact) but other than that it’s perfectly valid omf which imports just fine into ProTools.

any chance you could get your sound-mixer to clarify exactly what it is that doesn’t work regarding ProTool’s import of FCP’s omf’s ?

cheers
Andy

[Andy Mees]

as Thax said, except don’t use match frame to the “original” (using F) … the problem is that this doesn’t match frame to the original (source file) but rather it match frames to the ‘master’ clip — any speed changes you make are applied to this master clip, and will therefore affect all subsequent instances of that clip (or at least until you change the speed again)

the method can work, but instead, use CMD-OPT-F (Match Frame to Source File) … this loads a ‘temporary’ copy of the real “original” (which was Thax’s intention, i think)

to better understand whats going on, take a look at the title in the Viewer window:
double-click a clip in the timeline … the viewer window tells us we are looking at clipname from sequence name
this is an affliate (or instance) of the master clip
match-frame a clip from the timeline (F) … the viewer window tells us we are looking at clipname from project name
this one is the master clip
match-frame a clip from the timeline (using CMD-OPT-F) … the viewer window tells us we are looking at clipname
this is the original source clip

it’s considered temporary as it belongs to neither the project or sequence and exists within the project only until another clip is loaded into the viewer. any changes you make are not applied to the source media, but only to the instance of the source that you use.

cheers
Andy

[Andy Mees]

thank you, Walter

much appreciated

best
Andy

[Andy Mees]

Hey Martin

its kind of six of one, half a dozen of the other.
embracing FCP’s native commands will give them a mutual reference point with other FCP editors, allow them to work on any FCP station anywhere and possibly also help them to break away from any ingrained ideas of doing things the Avid way.
on the other hand, it’s so easy to customise and they would ceratinly be more comfortable and more productive much more quickly with an Avid like setup … things like using v and b instead of F9 and F10 are the obvious ones.

if they already use and know the Avid shortcuts, and will continue to work on Avid then my feeling is it does make sense for them to create a customised Avid style keyboard layout … i would teach them according to the official layout, but also teach them early on how to customise things.

cheers
Andy