Atticus Culver-rease
Forum Replies Created
-
Thanks for being willing to answer some questions, hopefully I’m not too late to the party with this one. Personally I’m not one of the people who thinks the sky is falling due to the move to Creative Cloud, and I think even with the new pricing and subscription model that Adobe’s tools are still a great value and I know I’ll be moving to CC once it’s released. But what I’d like to hear is why you think the Creative Cloud model is good for your pro video users?
It’s pretty obvious that the CC model benefits Adobe in a number of ways, but I’m not convinced that it benefits your users much. Getting access to all the Adobe apps that I don’t need doesn’t strike me as much of a benefit. You threw in some cloud storage… okay that’s nice I guess, but I already have Dropbox. Behance integration… nobody cares. Bug fixes and new features will get rolled out faster… well maybe they will, but there’s no guarantee, and we now have to pay whether we think the new features are any good or not if we want to keep working. It just seems that even though I like and trust Adobe and have generally thought nothing but warm happy thoughts about your company over the nearly 20 years that I’ve been using your products that I’m not seeing what the upside is for me in the switch to the CC subscription model, and I’m surprised at that.
-
You can also go to Window>Timecode which opens a new panel that displays timecode, and then there’s a pulldown menu in the top right corner where you can change it from displaying your timeline timecode to source timecode from any video or audio track. But it’s still only displays one track at a time, and you’ve gotta deal with having another window parked somewhere.
-
I don’t think there was really any misinformation about this, although I can see how some people might’ve been confused if you didn’t know about being able to import a project. Although it’s true that you can import another project into the project that you have open, that’s not the same thing as being able to have both open at the same time in the way that FCP7 allows. I suppose the difference is small, but personally I prefer FCP’s way of doing things because I can copy over just the clips or sequence(s) that I need into another project rather than having to import everything and then then delete extraneous stuff. I suppose another workaround would be to save a separate, stripped-down version of Project A with just the stuff that I want to bring over to Project B and then import that, but again, it’s a little more work that way.
-
I have a CineRAID (8TB mini-SAS RAID5) with an Areca controller card, and Areca had recommended to me a stripe size of 128KB for video editing, rather than the default which I think was 64KB. As has been mentioned already though, there are trade offs to bigger or smaller stripe sizes so it’s somewhat of a judgement call. With the Areca card you set the stripe size through their RAID manager interface, which is just accessed through a web browser. You won’t have control over stripe size with something like a self-contained G-RAID unit, something like that is just plug-and-play pretty much.
-
I’ve posted about this issue before and I believe it’s a bug in FCP. The workaround is what you’re already doing, which is to manually change the field order to “none” for each clip. If you’ve already edited clips to the timeline without changing the field order first you will need to select each clip in the timeline as well, then right-click and go to item properties>format and change the field order to “none” there as well. If it still doesn’t show up properly I would select the clips in the timeline and do a ctrl+B and then ctrl+B again to turn Clip Enable off and then on again. I don’t remember off the top of my head if that’s something I’ve had to do every time this issue pops up, or just some of the time, but if your changes don’t seem to be sticking I would try it.
-
I’ve done almost exactly what it sounds like you’re doing (DVI output from a medical scope converted to SDI for recording) using a Folsom ImagePro HD scan converter. It’s been a couple years since I did it last, so there may be other/better options available now, but I used the ImagePro for this on a number of occasions and it always worked great. The nice thing about the Folsom is that it has every option you could want for handling the resolution and frame rate conversions needed, so no matter what sort of signal the DVI is sending you, you should be able to convert it happily.
-
A few of us seem to be experiencing this problem, and like you I suspect it started after an update to AE or FCP at some point in the last few months, but I don’t know exactly when, nor does it seem to be affecting all users, nor do I have a better workaround than the one you’re already using. Sorry. I’m on CS5 and FCP7 with the most recent updates to both. If you find a solution I’d love to hear about it though.
-
Yeah, I’ve always thought this was stupid too. Just remapping the keys to cut instead of switch has been my solution.
-
Well actually I do have a custom output module for ProRes 4444, and if I open that up and go to “format options” and then “codec settings” the “interlaced” checkbox is NOT checked. I just re-checked and tested it again to be sure, and FCP still thinks it’s upper field after import. I also made sure that field render in the AE render settings is turned off.
-
I was having this same problem recently… rendering either animation or ProRes 4444 out of AE and importing into FCP the field order in FCP would say upper every time, even though I was definitely rendering progressive (30p in my case) out of AE. The fix, as you discovered, was just to manually set the clips to “none” fields in FCP, but yeah, it’s annoying to have to do it every time.
I don’t recall having this happen until just recently, so my guess its some kind of issue that’s popped up having to do with the latest update of FCP and/or AE CS5.