[Ben Insler]

I’ve noticed this happening a lot when I do multicam with offlineRT footage that I’ve converted from DVCPRO HD. It all should fit into the timeline fine (’cause all the settings are right), but FCP still likes to resize it…not sure why. Still trying to work that out, just haven’t had the time to mess with it yet. BUT, here’s a little fix which you may or may not already have figured out. You’re editing in multicam and everything looks fine. You pause playback, and all your clips distort. Select all the clips in the timeline that you just edited in multicam and select Edit->Remove Attributes (or press command+option+v) and remove the ‘Basic Motion’ and ‘Distort’ attributes (actually, you only should have to do distort, but I like to do both just for fun…and to be safe). Your clips should be fixed!

Best,

Ben

[Ben Insler]

search the manual for Multi-Cam editing. There are a whole bunch of features built in to FCP for this type of application.

-Ben

[Ben Insler]

Do you have at least 1 Gig of RAM? That’s required for a lot of the new releases in FC Studio (as well as for HD in FCP).

Check the system requirements and make sure you have ALL of them. If you’re a veteran PC user, know that Mac software works differently than PC software. Many programs will not run if certian system component are not present. On a PC, your software will just run slower or crash a lot if you have an older proessor, less RAM, less powerful graphics card, etc. Mac software just won’t run.

If your system is up to snuff, are you getting an error when you try to boot the other software, or does it just bounce in the dock for a while and then give up??

-Ben

[Ben Insler]

Also, the Kona 3 is badically all digital (it has an analog video out for monitoring if you have the breakout box, but no in). I don’t know about the LS or LH, but I’m sure it still stands that the benifit of the IO is that you can do Analog and Digital SD in the same box. If you’re using both, you probably should hold on to it.

-Ben

[Ben Insler]

try trashing your prefrences. Search the frum for a detailed explanation. It’s all over (I myself have posted it a few times).

Best,
Ben

[Ben Insler]

Nick’s right. XML is the only way to do it. Here’s how I’d find the right attribute for your titles in the XML if you’re having trouble finding your color.

1. Take one of your titles and place it alone in a new sequence.
2. Duplicate tht sequene, then go in and change the color of the title in the new (duplicate) sequence to what you want the title color to become. Name them both something recognizable, like white and yellow for the text color.
3. Export each one to XML. Then open both XML files in TextEdit and compare. They’ll be relatively short, and the only thing different will be the color attribute (and for an added bonus, the new sequencs XML will have the exact color you want described in it, so you don’t have to guess and check with a whole bunch of XML imports).

Two things to consider. When you export an XML and then re-import it, all the clips in the imported timeline are considered new master clips – that is their affliate connectons to footage in the browser are severed. If you plan to keep editing later and/or if this master/affiliate cnnection is important to you for organization (i.e. being able fo hit shift+F on a clip in the timeline to reveal its master in the browser), you might want to only export your titles to XML. Then make your changes, import the title XML and move them back to your original sequence. Master/affiiae connections aren’t really that important for video generators, but the can be with media.

Also, when doing your replace in XML, you might want to redundantly search and replace more than you need to. This wouldn’t be too impotant if you were searching for ‘Times New Roman,’ but you’re searching for a color, and the last thing you want to do is accidentally change all your white bursts to yellow bursts while tryng to change your title color. So, if the XML says ‘Font Color = White,’ search for that entire line and replae it with ‘Font Color = Yellow,’ rather than just doing a search for ‘white’ and replacing with ‘yellow.’ If you have opening titles and subtitles, maybe you want to search for more to isolate just the subtitles.

Good luck,

Ben

[Ben Insler]

Sounds to me like you want Final Cut Pro to write the timecode from your sequence onto your tape. Unfortunately, it doesn’t do that. You need to black a tape starting at a point before your desired start timecode, then use an insert or assemble edit (and you need a deck capable of doing these edits) to place your footage exactly at that timecode.

[Ben Insler]

The offline audio issue is annoying, but it sounds like it’s just that – not actually a problem, just a annoying thing to deal with that you can probably find a workaround for.

For the audio, check your logging info (selece your audio in the timeline and press Command+9) and make sure that it’s playback rate is the same frame rate as your sequence playback framerate. If it’s not (i.e. if your sequence is 30fps and your audio is 24fps) your audio will slowly fall out of sync as you move farther and farther down the timeline. I’ve sometimes run into problems with this at work and fixed it by trashing prefrences, but that was a situation where we were working with 29.97 FPS sequences and the audio, which was also recorded at 30fps, was accidentally coming in at 25 fps. Not quite sure how to fix it if you recorded your video at 24p and your audio at 30 – might have to do something in sebsky (which I’m not familiar with) or Cinema Tools, or maybe even media manager would work.

-Ben

[Ben Insler]

If I’m understanding what you’re saying correctly, you have an image sequence of this flyby that you’re trying to pull in to final cut pro, sequence, and export as a quicktime movie, correct? You’re not taking a video of the flyby and trying to export an image sequence then.

If this is correct, you’re running into problems because Final Cut is not a compositor, and thus uses different methods from After Effects/Motion/Shake/etc. to load media. You should do this in Motion (because you already have it if you have FCP). If you must do it in FCP, export multiple clips of 5000 frames at a time, then sequence those clips together and output one final clip.

-Ben

[Ben Insler]

[decloux] “but
they don’t appear to say whether the *controller* or OS limitation is 3Tb”

I don’t think there’s a limit – as long as the drives are manufactured you should be able to plug them in, thus expanding the internal space to 4TB. If they made 5TB drives, you should be able to have 20TB of internal space.

[decloux] “Won’t those flash-style components be able to blow the motorized gadgets out
of the water, speed-wise?”

Hopefully, but have you ever tried to work off of a flash drive right now. They’re fast enough for copying data quickly, but not nearly as fast as HDDs and not fast enough to work off of. Flash media’s max data transfer rate will have to develop a bit more before we have solid state drives that are affordable and fast enough for real media work. Look at the P2 cards. They’re fast enough for video, they’re really expensive, and they’re not that big. Right now an 8GB P2 card costs just over $1000. I’m not ready to pay $62,000 for a 500GB Solid State hard drive. We’ll have spinning platters for a bit longer…

-Ben