Annaël Beauchemin
Forum Replies Created
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I had this problem with a project that went up to about 20mb. I don’t really know how I solved it, but what I did is delete the prefs (and the PAO cache file), all audio waveform files and all the render files. I also increased the ram thumbnail cache to 8192kb.
One or a few of these things solved the issue.
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in my short excursions in the avid land, the main features that makes Avid stronger than FCP is for project management.
Like everyone is saying, media management is much stronger on avid, but in online/offline workflows, for FCP you need Automatic duck. FCP EDLs are unreliable in many situations: 24p timelines, speed changes, audio not linked to video, unreliable out point, etc. The log and capture interface is also much more flexible and complete on Avid.
When working on longform projects, Avid’s markers are so much better than what we got in FCP. You can print them with a preview of the frame, and all is layed out very cleanly with lots of info. With FCP, you can’t even export the markers to a text file ! How useless they are.
The other aspect where I find FCP weaker than Avid is for colorspace/gamma handling. With Avid, when you export or import, you choose wether you want to do it in RGB or 601. With FCP you have to guess. For example, to export with RGB conversion you must use “using quicktime conversion” instead or using “Quicktime movie”. This is totaly unclear. Same thing goes for 2.2 -> 1.8 gamma conversion QT does to DV. It’s not even told clearly in FCP’s documentation where is gamma converted or such.
I don’t know about MC, but on Symphony you have much better time remapping quality. FCP5 is supposed to have better scaling algorithms, but it’s unclear if time remapping was also revamped. Shake 4 does advertise optical flow remaping which will be awsome, but did they integrate optical flow in FCP5 ? I whish. The time remapping GUI is also very bad in FCP. In fact keyframes all over FCP should be more flexible…
A toggle switch for chroma smoothing built into the DV codec is another thing I find FCP is missing. In fact, it’s missing or hiding lots of advanced settings we sometime need to control.
But who can work efficiently with edit modes… arg
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I always thought that the difference between “NTSC US” and “NTSC J” presets was just that, the setup difference.
But anyway if you can calibrate your SVHS deck, you can forget about proc amps and setup since you’ll be recording your black level correctly.
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The system I work on sometimes has the Io + Revolution 7.1. This is not a Delta 1010, but a M-Audio nonetheless.
it should be fine, however you must remember to use the Io’s audio output when monitoring in FCP. Otherwise audio will not be sync to the video. The M-Audio should work fine for voice over recording, tho.
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[AJA Sales Department] “Added support for 23.98fps”
does that mean older drivers cannot *playback* a 23.98 timeline with clips captured with advanced pulldown removal directly from a dvx100?
Or should I read that we can now use FCP’s advanced pulldown removal when capturing with the io?
I’m asking because the IO is working fine right now and I will work on a 24PA project soon. If 24PA playback is already supported, I’ll stay with current drivers…
thx
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I don’t know why could DV be better on Media 100. The Avid DV codec actually make highly saturated contours subjectively better (it’s smeary instead of blocky), but when you look closely it sucks as much. Plus you can’t really use it in FCP since it’s RGB and has no realtime.
can you send a screenshot of the title+background? In my experience 80% white text should look good on a dark green background if it’s inside of the safe chroma values.
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If you’re working in DV and your titles have high saturation (especialy red or blue) against a black or otherwise low saturation background, it WILL come out pixelated. That’s a weakness of the DV codec.
Some tips…
– always verify in the vectorscope that you are inside (and not even borderline) of safe limits
– try to use other colors than pure red or pure blue. For instance, using a orange-ish red instead of pure red can come up much smoother.
– a 2 pixel contour of a different color with some softeness can help to give you smooth edges when you need to use a pure red or pure blue fill. -
err wait a minute… you have a *firewire* monitor? You mean that you have a firewire video device?
If so, this is probably the problem. Quicktime (on which FCP depends) does not allow multiple video devices at the same time, even on separate firewire cards. It may work with some devices, but that is unpredictable. So if your really have a fw to analog video converter, disconnect it before capturing and print to video.
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was the video recorded in any other speed than SP?
when you go to the apple menu -> “About this mac…” -> “More about the mac…” -> Firewire, does the camera appear?
If there are other FW devices on this mac, remove them and try again.
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Read David Scott’s post.
You need to nest your sequence and apply the timecode reader on the nested sequence.I often had to do it for VHS previews and a G5 2×2 manages to play it in realtime full quality. This saves alot of render time. But be sure to select Squence -> Render Only -> Needs render and also do an audio mixdown or you’ll have surprises…