Arnie Schlissel
Forum Replies Created
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There was a thread on this topic just last week (and there’ll be another next week, too ;-). Scroll down to find it. I think it was called something like “Broadcast Safe”.
Short answer, though, is that legalizing is much more than a matter of dropping a filter or 2 on your clips. It requires work, a trained eye, and careful attention to the video scopes & your properly calibrated broadcast monitor.
Arnie
https://www.arniepix.com -
pluginz.com & toolfarm.com both sell lots of plug in sets for FCP. Perhaps they’ll have something more to your liking. But without knowing which transitions your looking for in particular, it’s hard for anybody can help you with specific information. And Newtek’s web site just says that there are “500 real time transitions”, not very helpful.
Arnie
https://www.arniepix.com -
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pluginz.com & toolfarm.com both sell lots of plug in sets for FCP. Perhaps they’ll have something more to your liking. But without knowing which transitions your looking for in particular, it’s hard for anybody can help you with specific information.
Arnie
https://www.arniepix.com -
[Bret Williams] “I think it’s Maxtor. “
Never been a fan of Maxtor. The 1st I ever heard of them was when I worked at B&H. They were one of the only manufacturers of Type 3 PCMCIA hard drive cards that newspapers were using in their digital cameras at the time. I think the drives were something like 128MB-512MB. It seemed like nearly all the Maxtors came back as defective.
Then the industry moved away from those kind of cards to Compact Flash, & IBM (later Hitachi) started making “Micro Drive” cards on a CF card. Much more reliable. Even with an adapter to the older cameras.
Now, of course, a 1GB solid state card is hovering at around $100 on sale.
Arnie
https://www.arniepix.com -
[Greg] “What is your fee for unlimited edits to the video? We understand this may be an expensive request; however, have a large university with several campuses and many decision-makers; we need the option of editing the video until all are satisfied. Please email me an additional item for these edits including the total cost.”
How’s about: “I’m sorry, but I can’t afford to provide that type of service at a price that you can afford to pay. However, if you want to pay $xx,xxx up front, then I can allow you up to xx hours of revisions. After that, my regular hourly rates would apply.”
Or: “Well, if you want to put me on a retainer, it’s $X,XXX per week.”
Arnie
https://www.arniepix.com -
Well, that’s odd, to say the least. What brand of drive? Maxtor, perhaps? I favor Hitachi & Seagate, myself.
Arnie
https://www.arniepix.com -
How full is the drive? What make & model? Have you checked it’s directories with Disk Warrior?
Arnie
https://www.arniepix.com -
Your dilemma is what they refer to on Star Trek as a “Time Paradox”.
FCP preserves the In/Out points that you chose when you first inserted that clip in the timeline, hence the stretch when you slow it down. I’ve heard that some NLEs will preserve the length of the clip, but change the In or Out point to do so. As an editor, I’d like to think that it’s my prerogative to mark the edits, not the prerogative of a group of programmers who’ve never seen my footage or met with my client. But, hey, that’s me. Your needs may favor the other thing.
There are any number of workarounds. Doing your speed changes before editing a clip in the timeline is one. Locking tracks & trimming back is another. It speeds things up if you use the F4 key to lock the video tracks & the F5 key to lock the audio tracks. You can also use match frame & replace edits, etc.
Arnie
https://www.arniepix.com -
The drives need to be identical. Same size, same brand, same model of drive in the case… same everything. And you’ll still only be limited to 100 MB/second.
If you really need better speed, then you should look at a SCSI or SATA array.
Arnie
https://www.arniepix.com