[Bob Flood]

HI

Try throwing away all your existing renders. sometimes FCP gets stuck and forgets to show the most recent render

after you throw them away, close and open fcp, then re render the stuff that needs it

if the problem still persisits, try throwing away your preferences, which is discussed quite frequently on this forum.

hope this helps

bee eph

[Bob Flood]

again i talk amongst myself

If i make my first edt with gang open and audio video selected it works fine

my bad

thanx again

[Bob Flood]

Hi ron

got a powerbook? put FCP on yer powerbook and take it on set, using the fcp logger and a rs422 to usb timecode converter (see addenda electronics)

also heard of a program called CatDV. and one called FootTrack

hope this helps

bee eph

[Bob Flood]

her i go talking to myself again:

fixed the problem.

our resident font expert sez that there is no substitution going on, that its the western version of that particular font, and that for some reason the western version does not show up anywhere else, such as photoshop, font book, whatever

soooo.found a font that looks a lot like it and moved on

it helps sometimes to be under the same roof as a bunch of print designers

thousands and thousands of fonts, all mac compatible etc

jes thawt u mite lyke ta kneau

bee eph

[Bob Flood]

thanks to you all

I like the idea of putting the stuff over a bg instead of blowing it up, however for this project it would look weird (the stuff i am integrateiing is from a separate job, and i have to integrate it so it “matches”) I may wind up doing the whole show at 4×3 just to get around these issues, then we can charge the client more for additional shooting of real 16×9 footage!!!

“oh you want widescreen? sure, but it’ll cost ya!”

bee eph

[Bob Flood]

hey peter

naaaah, i get the point. its just around here they would rather ask

btw whats an AP? Associate Producer? wow you guys must be like hollywood types huh? 🙂

we are lucky to get a PA!

bee eph

[Bob Flood]

Walter et al

the big deal with 40 bucks is its 40 bucks. (this is not my opinion, because i agree with you), but in most cases once you have budgeted for an edit system with gear, the bean counters consider the issue closed. ie we can carve out 10 to 20 thou for FCP/g5/2tb raid (approx numbers, mileage may vary) but spending $40 here and $30 there screws up the accounting.

so now some will say “charge it to the job!” i wish it were that simple. even a 40 dollar expediture has to be so totally necessary that no amount of time (read unpaid overtime) can acheive the desired result ie why use Big Time when i can “take the time” and render my movie with a FCP TC window? its kinda like “i only need to put an engine in my car when i am going up a lot of hills, otherwise i will just push it along, even though its takes longer to get there”

again,this is not the way i would do it.

i would certainly welcome any suggestions towards dealing with this mentality, other than quitting, as i have to deal with this every day

bee eph

[Bob Flood]

hey dan

as one of my collegues used to say “i hear ya cluckin big chicken!” 🙂

i have had to do a few “uprez edits” and i have found some things out that have helped:

1. if at all possible, dont do a low rez offline. its so much easier to just work with the footage at the final rez, and the cost of storage is low enough i do not think its a deal breaker. if you have to do the offline online route (in my case it was because the project started on a different machine at DV, but was being finished at DVCPROHD) here are some ways to avoid getting burned and or having to miss your kids birthday party:

2. when you are done working on a nested sequence, export it as a native QT, reimport it, and drop it in your timline In Place of the “nest result” (old media 100 trick) dont forget to include your nest sequences when you media manage. yeah you have to re export each one, but you are guaranteed it will work

3. always make stills from the source footage NOT from the timlline ie find the point on the timline you want to freeze, matchframe it into the viewer (f key) make the freeze (shift n) and cut it in. I have never had problems re doing my stills this way. The only gotcha is that i have to remove distort and scaling attributes to resize it from dv to hd. If your still is the result of a composite on your timeline, Nest the compoiste and make a still from that

4. never had a problem with speed changes. Did have problems with lack of pre roll on tape. Footage was captured as one long capture per tape, then cut into subclips for edit. Some of the camera starts were kinda tight to first action. had to recap manually,

hope this helps

bee eph

[Bob Flood]

hey

welcome to the confusing realm of nested timlines

I do not know how or why or when the link between the timeline A on the canvas and the timeline A in your timeline B gets broken, but it does. (maybe its when you open timline b out of the browser) you can do various things to each timeline, anf the other will never change

its very frustrating as its not consistent

what i do, as a solution, is ALWAYS double click on my Timeline A thats in my TImeline B. this will open it up in the canvas and allow you to modify it and those mods will show in your timeline B.

The other thing you can do, which is a little more time consuming but makes the connection rock solid, is export timeline A as a native QT, Import it back in, and cut it into timeline B. each time you need to change timeline A, simply re export again, overwriting the previous export so the name stays the same, and fcp will reconnect to the file!

hope this helps

bee eph

[Bob Flood]

hey

whats a suri cruise?

and that web info is lame compared to what i heard:

“FCP 6 will not only push the editing envelope further than its been before, but any purchasers will get their job back, their wife will come back to live at home, and their auto or truck will run like new”

oh im sorry thats what happens when you play a country music record backwards! 🙂

bee eph

(with apologys to jeff foxworthy)