[Bbalser]

What I ment was, the “traditional DV way” as in having to slow down the speed of the clip inside your NLE. I didn’t mean it in the “traditional film way”. Sorry about that.

[Bbalser]

Yeah, I agree with someone who once said it was crazy for Panasonic to market P2 technology wihtout any archive/storage plan to offer or suggest to users. We’re pretty much on our own about that.

I’ve never had many problems on set. I’m not actually “on set” nearly as much as I’m “on site”. Shoot a lot outdoors, in the swamps, sometimes its nice, sometimes the weather is just very ugly. I’m pretty impressed with how my HVX200 and FS-100 are both holding up. Not much of a problem at all. I did have clips missing from a P2 card once, but aside from that, the combo has been pretty reliable. I don’t actually back-up, it’s just the FS-100 until I get back to the studio and off load it to my media drive.

I currently have a 1TB G-Tech as my archive for the time being. Backs up all my projects, media, and the vital stuff from my system drive that will make rebuilding it pretty easy. Three times a week, everything, back it all up. But I really want to move to DLT, again.

I rarely use P2 cards, very rarely…

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[Bbalser]

I would never recommend bringing a DLT to the set. I suggested it as the most reliable “archiving” media, to put everything on once the project is done. I’d never do an archive of anything on a set, that’s just silly.

I have seen a couple of flash drives fail. I work outdoors a lot, in a lot of bad southeast Louisiana weather, shooting a lot from boats. Moisture distroys a flashdrive faster than an alligator on a nutria. Case cracks, its distroyed. Lots of ways to distroy a flashdrive. I like them way better than DVD. DVDs are just too pron to physical damage for my tastes.

My point is that a DLT tape, you can smash it against a brick wall (then put the tape in a new case), let it set in water all day, run it through airport x-ray machines all day, and it’ll still be as reliable as ever. Again, my only point is that it is the most reliable archive media, not the only archive media. And comparied to DVD and flash, its also the most GB for your buck.

But again, not the only choice out there, just my choice, based on years of professional IT experience. I’ve seen RAIDs fail that were supposed to be bullet proof, everything fails at some point. But I’ve seen DLT tapes go through building fires and come out fine, when the DVD backups melted long before the still in tact DLT tapes in a closet. Just my personal choice.

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[Bbalser]

Well, when you have the luxury of a card, but if not, you use what you got. Conversion times in Compressor are not bad, though. I do find that capturing HDV as AIC cuts Compressor’s conversion time down significantly, too. But if I had the IOHD box, well…

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[Bbalser]

Yes, DLT is slower, but more bulletproof than anything else. I use P2, and there are two drives out now (can’t recall names off hand) that recognize and catalog MXF metadata, so retreval time is cut down.

I only suggest DLT as an archive method that won’t go out of date and won’t die on you. It simply has a much more robust and proven track record than anything else. Software for these DLTs also compresses your data a lot so you can fit more data on a tape, so you save more money.

Flash drives are nice, DVDs are nice, hard drives are nice, but they all fail much more often, and have much shorter life spans than DLT. That’s all.

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[Bbalser]

There are other levels of render beside “red”. Go to the Sequence menu, make sure every level of render in both the Render Selection and Render All have check marks next to them. I bet there’s a render level being missed.

Also, Mix Down Audio does more than simply Rendering the audio, and is often needed. Just hit Option+Apple+R to do an audio mixdown.

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[Bbalser]

P.S. What he wants to do, put the TC Generator filter on a bunch of clips, I would not do it in the Browser. I’d crate my Timeline first, select all, Nest, and apply the filter to the Nest. Otherwise you’re TC filter will be showing TC for each clip, not the Timeline as a whole. If you apply to individual clips the TC will reset to 0 at the start of each clip.

I use P2, and I do what he’s trying to do all the time. You have to Nest the Sequence and apply the TC filter to the Nest as a whole.

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[Bbalser]

Double click a clip in the Browser to open it in the Viewer, apply a filter, poof, the Browser version now has that filter applied to it. Every time you drop that into the Timeline from then on, it already has that filter, period.

You can also keyframe, add In/Out points, etc, to the BROWSER VERSION of clips this way.

Hint: Once a clip is droped into the Timeline, you have two seperate versions; Browser and Timeline. Open the Browser version into the Viewer and the scrub bar is clean. Open the Timeline version into the Viewer and the scrub bar has dots in it, supposedly looking like film perf marks.

If you do something to the Browser version, it will not effect versions PREVIOUSLY placed in the Timeline. If you do something to the Timeline version, it will have no effect on the Browser version.

So what the original question was, is answered as Yes, you CAN place filters on the Browser version of clips. Just open the Browser version into the Viewer. Don’t think the Viewer is a Timeline only deal.

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[Bbalser]

No, it will not distroy your Pro registration. I have Studio and did the upgrade. It only replaces the F4M Player. Although now Firefox has problems playing back WMV files that were fine before.

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[Bbalser]

“You’ll notice that the fx I mentioned don’t show up in the G5 versions of 5.1.2 or greater. Just on the intels. Don’t know why.”

Becaue those G5’s don’t have a graphics card that will support Motion’s FX Plug architecture. Motion is totally GPU dependent, FCP uses the CPU. So Motion requries a higher end graphics card than FCP does.

I’ve just had three consulting clients upgrade graphics cards on G5 Macs, and now the FX Plug plugins show up on them.

It is not an Intel thing, it’s a graphics card thing.

I’d also NEVER upgrade FCP versions in mid-project. You’re only looking to create some major potential headaches and disasters.

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