[Ben Holmes]

All the firewire video I/O options are expensive because the encoding/decoding has to be done in the I/O device, not in the computer – so you’re essentially paying for a second computer.

You’d be much better served getting a good Firewire drive array (I use the excellent Caldigital VR-mini for bus powered use, but the G-Raids are excellent and good value) and using the MXO2 or IO Express on the Expressport. It’s a much more efficient use of the MBP, and will run HD ProRes perfectly.

Ben

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[Ben Holmes]

Just to add (speaking from PAL land) that the majority of PAL DVD players can play 24p disks, either outputting that correctly via component, or doing their own framerate conversion for composite output. It’s a while since I made a 25p version for a client. But then, it’s a while since I was asked for a DVD. This allows Hollywood to stop making separate versions for PAL-land, as most displays support it. The last disk I made was for Blu-Ray and DVD, and all encodes for all regions were 24p – that was a couple of years ago.

It doesn’t mean the region encoding is not in effect!

Always test these things yourself, and check the specs.

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[Ben Holmes]

It would be better if you could start with a new anamorphic sequence.

If you can’t, then you will need to go to the distort/aspect settings in the motion tab of the viewer for one of the clips.

First, set the scale to 100.

Then set the aspect setting to EITHER 0, or 33, or -33 (or it might be -66 or 66, I haven’t used SD footage in a while!) One of these should look correct. Sorry – I can’t test this to see which way round works for this footage, but the correction will be obvious when it’s right – there will be no black around the footage in the Canvas, only the grey around the viewing window.

When you’ve got one right, copy it, then select all the other clips in the timeline with the track tool (the arrow pointing right) and right click on the selection, and select ‘paste attributes’ then select to paste in ‘basic motion’. I think that’s all you need to check, but again, I don’t have a system open in front of me.

If you have set any sizes previously in the timeline, such as picture-in-picture boxes, all this work will be lost. If you just want everything fullframe, this is the method for you…

Good luck!

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[Ben Holmes]

This has as much to do with memory (RAM) useage, and bus useage as drive speed. FCP particularly does not respond well to any copying on the system – but you can see similar slow-downs in OSX if you try to copy a few files at the same time to different drives, so I’m not sure it’s fair to blame it ALL on FCP, as creaking as the architecture is.

Bottom line – if you’re working in FCP, don’t tax the disk buses with anything else, irrespective of the speed of the drives. You will always save time by doing one task, then the next when it’s finished.

All of this will be fixed in OSX10.8 and FCS7.

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[Ben Holmes]

As keen as Apple are to suggest that you can drop Motion files directly onto a FCP timeline, in practice it is slow, unreliable and generally to be avoided. Render them out from Motion as ProRes 4444, the default now I think, and drop them straight onto your FCP timeline – if this is ProRes too, no rendering will be required.

Avoid all .motn files in FCP wherever possible – it’s just another area where FCP needs a massive overhaul.

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[Ben Holmes]

Have you panned the individual clips for the voice and fx to the left or right in the viewer? You will need to do this for each clip.

To make this quicker, make sure all the voice is on one track, and all the fx on a second one. Pan the first voice clip to the left, using the slider, then copy it by right (or CTNL) clicking on it, then selecting every other clip in that track with the track tool, then right clicking again, selecting ‘paste attributes’ and ticking the box marked ‘pan’. Repeat with a right pan for the fx track.

It should be obvious from the audio meters if you have successfully managed to split the audio.

If some of the above doesn’t make sense, have a look in the FCP help under audio – you’ll find the answers to many enigmas there.

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[Ben Holmes]

A large jpeg still can cause problems in FCP. You would be better to render your entire slate as a prores movie and put that back in the timeline, or render the still layer as prores as a minimum. None of this should cause playback issues elsewhere in the project – I suspect, jpeg or not, that this is a red herring.

Can I ask how large the project is? How many sequences do you have open? Large projects in FCP often become unwieldy and cause stability issues. Otherwise, this could be an issue with the array (particularly the eSATA adapter you use to communicate with the array) causing playback issues. Try elimiinating potential issues (different drive array – any firewire or internal drive should play LT no problem) or copying material to a new project. Only by doing this will you get to your specific issues.

Ben

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[Ben Holmes]

You could recapture this through XDCAM transfer. As long as the filenames are not changed, you can then reconnect all the offline media in FCP, by referencing the newly captured files.

Ben

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[Ben Holmes]

Jason – a thoughtful reply. Thanks.

Far be it for me to come across defensive, but I do feel my thoughts on this have been a little misconstrued here. I’m also aware that there are people on here who don’t like “FCP is dead” posts – even though this wasn’t really one. I actually prefer the discussions on here about the future to anything else. As an industry we live and work in small bubbles, and the views of other professionals about the industry as a whole is as valuable to me as edit tips.

Anyway – here’s my point again: I’m not afraid of change. I’m prepared to embrace and use any piece of edit gear to get the job done. All the main platforms are fine products. It’s very interesting to hear that my Mac Pros could run all the available software (although I gather the in/out options for AVID without using their own hardware are limited at the moment). Like you all, I charge a lot more for my time than I do for edit gear – and it still pays for itself many times over. I make a good living and I’m never short of work – I can’t complain.

I think what has taken me aback is the change in the industry over the last twelve months, and the way FCP is becoming marginalised again for broadcast. Why does it bother me, given the above? Well – it’s because I always loved the product, and have had so many great years working with it. I spent a lot of time working with FCP systems alongside AVIDs that crashed constantly, and couldn’t offer the speed of workflow my very time-sensitve job requires (live broadcasts). I had a tremendous belief in Apple supporting updates and features. I defended many “FCP is dead” posts on the Cow. Because for a long time it was just the best tool for the job – for me, not anyone else particularly.

This emotional response has nothing to do with equipment (although future investment is on hold whilst I consult with clients over the next few months) and more to do with that.

I’m not complaining – why would I do that when life is about family and friends, not edit gear. I’m just reflecting. I hope my reflections might give someone else pause for thought about their future. One thing is sure – like Walter and Andy, I’ll be diversify my business to cover demand. I spend a lot of my time in After Effects and other Adobe products anyway. I’m going to upgrade to CS5 and take a look. I’m going to speak to resellers about AVID MC5 and try a demo on my Mac Pros. I love the idea of a $10,000 AVID DS suite (well, the software anyway – I know…) because I’m always looking to step up. Da Vinci interests me as well – assuming it’s something I can use regularly.

Whatever else happens – I know I’ll still work, because I’m good at my craft. It doesn’t mean it doesn’t feel a little bit like the end of an era. Oh- and I’m sure Apple haven’t gone to sleep, there will be another shift eventually – it’s just a little late.

Thanks for a constructive conversation and practical advice – it’s helped me immensely.

Ben

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[Ben Holmes]

You didn’t really read my post, did you? Edit hire is a business for me, as well as for post houses.

I’ll use any system someone wants me to use – but investment in equipment is something else.

Even so – of course it matters where the industry is headed in terms if standards. If you want to spend your life just hiring yourself out to edit, carry on – I’d rather work on a future where I spend more time managing an edit business, and more time with my family.

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