Ben Insler
Forum Replies Created
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As long as you’re not using media that requires a data rate faster than FW800, you’ll be fine (unless you can find a SATA or optical mini slot card… don’t think that exists though). In your workflow, the only place you could drop frames is during capture. Everything else is just math that the computer has to crunch.
-Ben
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I know that patch cables exist that convert analog VGA out to RCA video. These used to be bundled with G5s – you could daisy chain your Digital-Analog patch cable into your Analog-RCA patch cable and connect one of your Digital Monitor Outs to a TV. I don’t think these still ship with Mac Pros, but I’m sure you can find the cable somewhere.
-Ben
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Should work fine… and the internal drives are SATA so they’ll have a fast enough transfer rate. I have noticed though that the internal Video Raid in the Mac Pros is sometimes slow to spin up, and this can cause temporary beach ball states on your computer (although, they have always recovered and the machine hasn’t crashed).
-Ben
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Sorry, typing too fast. I meant Canvas only. Thanks for catching that.
-Ben
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Are you using drives on another machine over a network and ejecting those network drives or shutting down the host machines while FCP is open? Or, are you ejecting firewire drives while FCP is open (even when the drives are not in use by FCP)? Changing the mounted volumes on FCP like this can cause it to get confused when you go to save. Try to avoid the abovementioned issues, and if the error does come up, you should be able to do a “Save As…” to the desktop, and then move your project file to where it is supposed to be.
-Ben
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Man… no one’s rooting for Final Cut around here, are they?
Final Cut is not After Effects. Saying “No Easy Ease on keyframes” is like saying “Why does each element in my After Effects Comp have to have its own video track. I can have more than one piece of video per track in Final Cut.” Yes, things can always be improved, but at least look at how the package functions before just getting angry.
That said, I do have issues of my own. Like I don’t understand why the scopes monitor the viewer AND canvas (depending on which is active)… maybe this is fixed in 6…and of course, COLOR should take care of this anyway.
-Ben
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Wouldn’t that just cover up a different part of the waveform?
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Jason,
There are reasons to have the playhead function in this way as well. For example, when putting together a rough assembly (say of a narrative scene), this allows you to to place your selected shots in the timeline (using overwrite edits, not drag and drop) without having to navgate to the end ot each clip after each overwrite. Thus, you never even have to touch the timeline to rough out an edit. An option to switch playhead behavior between End Jump and Stationary may be a nice feature, but its current functionality is not a stupid feature in the least.
-Ben
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That sounds like digital artefacting…usually caused by dirty tape or recording heads… which don’t exist with P2. I don’t know what would be causing that unless the data was either encoded wrong as it was being written or transcoded wrong as the MXF was ingested.
When you play back the footage in the P2 Import window, are the drop outs present, or only in your ingested quicktimes? If the dropouts are in the P2 window when you’re playing directly from your P2 MXF CONTENTS archive, then the bad data is probably recorded in your original footage.
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I don’t know about them going bad, but I would think it’s pretty unlikely. They’re solid state memory – it would be like a USB memory stick going bad. Something major would have to happen to cause that, and the P2 cards are designed to be very indestructible.
What kind of dropouts are you getting? Missing frames, or just flash frames in between your segments?