Bbalser
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No one has mentioned the DV Start/Stop Detect feature in FCP. I did an article on it in Event DV magazine some months ago (eventdv.net, it is archived under “Cut Lines” if you do a search). With the method I explain in that article, you get both your whole tape capture, and you get it chopped up into seperate clips (not sub-clips) that you can then lable and log as you want. Very fast, very efficient, I’d suggest looking into it.
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I do what you’re doing with a 17″ Powerbook and 200GB LaCie Firewire 800 drive. First, you’ll have to get a Firwire PCMCIA card, as you can’t capture to an external drive from a camera on a portable, as there is only one FW Buss. The card adds a second data buss, so that you don’t overload the FW Buss.
Capture with the Apple Intermediate Codec set up (AIC), it’ll reduce the strain on your CPU, and keep your image quality.
Your Powerbook should handle that just fine.
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I use Compressor directly out from FCP, choose a DVD/MPEG-2 preset, then in the Video drop down, chose “SD (Automatic)”, and I get great looking images with DVCPRO-HD.
I also get good results with droping my HD Sequence into an SD Sequence, rendering and exporting as a QT mov.
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I say it’s a RAW thing, only cause I’ve never seen it very seriously used anywhere but in professional digital RAW photography. I know it’s avaiable in other grahic formats, but I’ve just never seen it exploited like it is in RAW photography. That’s all.
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ITPC Metadata is specific to the RAW format, FCP really has no use for it, it won’t transfer at this time. Maybe one day if there’s demand for it. But to be honest, I don’t see how I’d use that info in FCP. I’m using Aperture to catalog all my photography. It’s great there. But when I export those for use in video, at least to me personally, the ITPC metadata is just not needed anymore. But it’d be a cool feature to see one day.
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“uncompressed SD codecs are also 4:2:2” To be realistic, how many DV cameras on the market are recording SD uncompressed to their tapes? Not to mention the smaller size and lack of detail SD uncompressed picks up compared to HD uncompressed (or even compressed), HDV not being included.
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SD and HDV are the same 4:1:1 color space, but DVCPRO-HD is 4:2:2.
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“In Vegas, you would just set the stereo track to play the left (or right) channel only.
It’s great that FCP is getting more and more exposure as a pro application, but there’s nothing wrong with allowing customization. Avid still doesn’t realize that, I hope Apple will look that into account…?”
That’s not my question, I can do that in FCP, too. But in Vegas, if a stereo pair is on a Timeline on only one track, how do you seperate it out into two mono tracks easily? Not just pan them, I can do that in any NLE.
As for FCP being customizable, it is, very much so. As for FCP getting more and more exposure as a pro app, that’s been happening for a decade now. Vegas didn’t invent anything, just picked up where everyone else had already developed to.
Lots I don’t know about Vegas, but you post a comment about FCP that’s not acurate, forgive me for correcting it. It’s not about FCP getting exposure, that’s been done for years now. It’s about Vegas getting exposure as a “pro app” IMHO. Vegas doesn’t have anything like Cinema Tools from what I understand, to do film conforms. Not to get into a pissing match, but, let’s focus on the subject at hand, dealing with stereo/mono tracks, linking and unlinking them.
Different workflows in different NLEs, if there was only one king, we’d all be using it, but we’re not.
So, again, how does Vegas switch that stereo pair on one audio track and split it into two independent mono tracks on the fly? Just wondering how other folks do it.
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It’s a bug, ignore it, I get it all the time. After opening and working and saving the project a few times, it usually goes away. If it working properly, ignore the off-line icon, it’s a bug.
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I’m not looking for info, I’ll have FCS2 up and running before either Dallas or Atlatna shows. I’ll just be there with some of my students and colleges from the southeast Louisiana area (I’m ACT, I don’t “need” to get my info from this tour).
Also, I missed NAB (due to Apple canceling a training the day before NAB, I couldn’t afford to do both, so Apple made sure I couldn’t do either, plus be out of air fare). But I didn’t miss any news from NAB. Several on-line sources were feeding us info live from NAB. So you don’t really have to be AT NAB to get all the info live from NAB.
But the question, and it’s not a totally serious one, is the FCS2 Tour worth a full 8 hour drive each way to see? Probably not. But Apple never does anything closer to use than Dallas or Atlanta. At least they hit Chicago on occation, but seem to totally ignore the unbelievably booming film industry here in Louisiana. That was my sarcastic point, though not clearly made.