Bj Ahlen
Forum Replies Created
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The manual is very good, as is Apple’s FCP workflow description (also free).
Lynda is a very good training company, but if you want tutorial media I think you have to pay $375 for a premium subscription.
Videos have pros and cons compared to the best books. I desperately wanted to love the videos, but found the back-and-forth to be more painful than with a book at your side and working on real editing of a TV show say, where you are actually doing it (vs. watching someone else do it and seeing a low res image of a very high resolution interface).
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The 17″ MBP with an LED 1920×1200 matte screen is flat-out stunning, and it has an ExpressCard slot that can be used for eSata high performance disk access (much faster than FW800 even), and it also has a high performance graphics card that will help you for Motion especially.
Look for one with a 320GB disk or whatever is one or two generations behind on the disk size.
Factory refurbs have the same warranty as new (1 yr P&L), and you can add 2 years to that inexpensively anytime before the first year is up. Apple.com has these, also MacMall.
Do not get a “MacBook” (without the Pro), they don’t have usable graphics cards and there are a few other issues as well.
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Get the Apple Pro Training Series books, starting with Apple Pro Training Series: Final Cut Pro 7.
Best $30 you’ll ever spend, as you will learn how to do things the best way, as opposed to “I got it to work this way.” It comes with tutorial footage from major TV-series and more, and everything is just well thought out.
A lot of self-taught editors don’t even know that they could work twice as fast if they knew the best ways.
For a Sony Vegas editor, it is particularly important to learn FCP from scratch, because it is so different.
Vegas is a DAW that added video a long time ago. It still uses a DAW paradigm, which is wonderfully efficient in many cases (it may end up being used for FCP8, we’ll see).
Editing using a DAW is very different from editing on a classical NLE like FCP/Avid/…., so it is important you develop habits that work for this paradigm.
The other resource I recommend you get early is “Final Cut Pro Killer Secrets” by Martin Baker.
I challenge anyone no matter how experienced with FCP not to learn something incredibly useful from this. It isn’t a tutorial type book, just incredibly valuable tips that can save you a lot of time and aggravation.
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Is it interlaced footage?
From what source, DV/DV50 or Uncompressed/ProRes? The latter has the opposite field order
Are you using Easy Setups?
Just wondering if it could be field reversal from not setting UFF/LFF correctly.
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q[Bouke Vahl] “[B.J. Ahlen] “Good points if this was indeed a one-off, but considering the less than clear communication I don’t think we know that.”
How stupid / narrow minded / lazy are you?
Read the original post:
13 files in total – #13 is 1k reference tone. “Seems I wasn’t the only one who was undercaffeinated.
What happened to civility in this forum?
And exactly what about “13 files” suggests to you that he will have more projects like this, so that this is not just a one-off?
You have your company name in your signature. If your posts here are representative of how your customers are treated, I think you can see an obvious way to improve your business success.
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[Bouke Vahl] “Cause this was NOT the question, the question was how to marry two clips after syncing. “
Sorry, my bad. I was “pre-coffee” and looked at the original post where Sean said, “I wanted to know how to go about properly syncing the .WAV files to these transcoded clips.”
[Bouke Vahl] “…the OP had only 12 clips, so buying software / installing / finding out how it works makes no sense for just 12 clips. “
Good points if this was indeed a one-off, but considering the less than clear communication I don’t think we know that.
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Why would seeking an efficient workflow for dealing with DSLR video shot with double sound qualify as “FCP Basics?”
And why would the OP feel that it was such an insult when someone suggested using an inexpensive piece of software to help with the syncing, most likely saving the cost many times over? Unless he works for $7.25/hour.
I suspect Canon and the other video camera manufacturers are right now busy trying to figure out how to put DSLR video technology into a traditional “video camera” that can justify a sticker of 4x the cost of a Canon 5D or 7D.
In the meantime, I think we should have some compassion for the pioneers with arrows in their backs.
(I’m not one of them.)
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Third party developers are always behind.
Just look at the belated support for Snow Leopard, FCP7, as well as all the versions before that.
Even Adobe, when they are a third party developer, is taking years to put support for new ProRes versions into AE for example.
Adobe made a brilliant move when they added support for FCP import into Premiere Pro/Encore, because it made it easier to justify a buying decision (for those who needed to author full BD media).
If Adobe wants to save money by not implementing support for existing 32-bit plug-ins, they have to weigh that against the lost revenues from users who won’t upgrade to CS5 for this reason until the plug-ins have caught up some time in 2011.
CS4 didn’t exactly take the world by storm, and now they will make it difficult to justify getting CS5?
Wouldn’t seem to be real smart. Should this be brought up at their next shareholder’s meeting? :O)
My plug-ins are as important for my work as the applications they are plugged into. If Adobe thinks otherwise, they will see another lean CS4-like year, with far fewer users upgrading than in years past.
I certainly can’t upgrade to AE CS5 until the plug-ins that I use have been working for others for at least a few months, and that will in most cases be a lot of moons after CS5 is released, especially considering the issues that will arise in going from a 32-bit architecture to 64-bit.
Caveat editor.
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The distortion comes from your JPEGs etc. using square pixels, but NTSC uses a Pixel Aspect Ratio of 0.9091, so your circle will come across as an ellipse, etc.
Use Photoshop (or similar program) to do the rasterization, selecting NTSC for your raster image if you have a recent version of Photoshop.
DPI doesn’t matter in video, that’s only for print. An 100×200 graphic at 72 dpi will come across identically to a 100×200 graphic at 1200 dpi.
The DPI is actually just meta data that specifies at what size the pixels should be printed.
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..and iMovie won’t use all those cores in the MacPro.
Do a nice After Effects render and you’ll see a big difference when it fires on all cylinders, or use a program or plug-in that is GPU-accelerated, then you might also appreciate the Mac Pro’s ability to work with ATI 4870 cards, etc.
But if you don’t do any heavy lifting and are happy to import footage via Firewire or USB, then the iMac will be fine.