[Bob Flood]

Dave

I am still using a g5 and a dual cors intel, but its always squirrely trying to get my ioLA running with my kona card. I have to switch on the io, plug it into the firewire bus, make sure there is notheing else on the firewire bus, make sure i have video going into the io, then restart my computer, not just fcp. When i get fcp open, i have to make sure all my AV settings reflect the IO, not the kona. Then it usually works.

hope this helps

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Mike

what happens if you switch off the record to tape high quality ie under the RT tab on the timline, there is a selector for Record to tape. Set it to “use playback settings”

if you still have to render, then try switching the playback from safe to unlimited but high quality

the next thing to do would be to change your timline settings to match the format of video you are putting out IE forget the Pro Rez and set the timeline for 1080i at waht ever frame rate

(it sounds like FCP does not think your timeline is “native” enough, hence the rendering)

hope this helps

hope this helps

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Hey udayan

I dont know wahts going on between the avid and FCP. as you said it was solid state 2k files, its all pretty new territory to all of us (i am still doing stuff of DV tape!)

However, If you found a way to work around the problem you should do taht. I tried making media offline and changing the Media start, but as soon as i re connected the source media, it chamged back to waht it was.

The guy who developed Automatic Duck knows all bout these issues, so he took taht into account when developing the product, which is why it works pretty well :

https://forums.creativecow.net/forum/automaticduck

hope this helps

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Hi

I am confused. are you talking about the media start? or the In?

You cnat change the media start as FCP gets this from the media you can change the in and out, as well as clear them, just by right clicking on the number

It sounds like what is happening is that the Avid edl is not reflecting the real time code value of the media ie the ins and outs seem to be file starts rather than timecode. Maybe the Avid export was set to reflect File times rather than Source TimeCode. If this is the case, then a new EDL form avid might fix everytting

hope this helps

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Hi

For what you want to do, an EDL is just too underpowered, and FCP treats EDLS differently that Premieire.

You need to try a program called Automatic Duck. MAybe someone here could run a test for you to see if it works.

If you have more time than money, you could also digitize the output from avid, and line up the shots by eye. I know its not the most elegant solution, but when you work with EDLs in FCP, its only slightly more advanced than stone knives and bear skins.

hope this helps

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Hi Tom

Raylight:

dvfilm.com/raylight/index.htm

However, if you are using MPEG StreamClip for Encoding, Its available for the mac for free. You cna find links and such at the apple site.

hope this helps

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Anders

“Could somebody tell me WHY I need to be told that I can’t cut in a transition, and why I am not allowed to do it. ”

because you were a bad bad boy! 🙂

no actually its more mundane than that:

Its an issue with FCP that has been around since day 1. The Program cannot calculate what happens if you want to cut a transition.

Perhaps the thinking is that an editor would add the transitions last, after he is happy with the cuts only version of his edit. (sort of an editing haiku thing) Or perhaps the original developers of the program forgot about transitions (“no no no its called Final CUT, not Final Cut and Dissolve”) or perhaps the underlying code just cannot support the calculations necessary to do what every other NLE in the world can do easily. wahtever the reasons, we know about it, we hate it, and we do not know why apple wont or cant fix it.

the good news is there are a couple of workarounds. Usually the transtion in question is the one nearest to and inclusive from your in and/ or out point. simply delete that transition and all will be good.

If its a transition you have customized, you can drag it to a bin and save it, or copy it and the clip its on and paste them to an upper video track outside of the range of your ripple delete.

then once you have ripple deleted, you can replace it by dragging it back.

does this help?

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Cool!

this is great cuz dont we all say:

“FCP has a really good CG. ITs Called Photoshop!”

(or at least some of us)

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

walter

what i dont get is the difference between a ripped cd and digitized audio?

Even with good levels and a pretty hot signal into FCP, my on camera stuff is always a lot softer compared to ripped music

One thing I have started to do is rip CD’s through soundtrack, then i can apply a volume adjust to knock the level down.

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Chris

WE have a UVW, Kona LH and a 1642, and I can suggest a way to connect up your gear based on my expereince:

Connect the UVW out 1 and 2 to the mixer Input 1 and 2

Leave Mixer in 3 and 4 open for microphones

Connect the Kona Analog Out 1 and 2 to mixer inputs 5 and 6, you may need adapters to go from XLR to TipRingSleeve quarter inch.

Connect the Mixer OUT 1 and 2 to a pair of y cords or 1×2 spliters, then the Kona LH analog input, and the UVW input

Make sure the UVW is set so it goes into EE ONLY in record.
Menu > Operational Function > Auto EE Select: then set all 4 choices to PB

When Capturing:

Use the Input 1 and 2 Faders to set your level while capturing, Keep Mixer inputs 5 and 6 calibrated to tone and set to Alt 3/4, and keep your control room monitors set to listen to Alt 3/4.

When Mastering to Tape:

Switch inputs 1 and 2 (UVW) to ALT 3/4. Switch inputs 5 adn 6 (KonaLH) to MAIN. Keep your control room monitors set to listen to Alt 3/4.

hope this helps. I have a couple of different layouts if this doesnt work for you

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.