Boyd Mccollum
Forum Replies Created
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It may not be worthwhile if you’re going to go back to Premiere, but if you have FCP 4, this would be a good time to upgrade to FCP 5.1 – for $200 you can get the entire Studio package (FCP, Motion, DVD Studio Pro, Soundtrack Pro). Apple’s offer is only good until ~December 20.
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Well said Stu – not to mention if you are in foreign lands… (which is where I often shoot).
On the plus side, in a controlled enviroment, the XL-H1 can capture uncompressed HD (via its HD-SDI output).
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I’ve had some problems with Lacies that I’ve purchased in the last couple of years (2-500G and 1-1TB). There are a couple of failure points (the drives themselves have been okay):
– The external power supply “bricks.”
– The “bridgeset” / “chipset” (ATA to FW electronics)
The bridgeset has been my biggest problem. The solution was to buy new external cases and put the drives in them.
Similar to what Walter mentioned, I have a couple of smaller Lacie drives that I use as backups.
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You might want to use a product like CatDV (https://www.squarebox.co.uk/standard.html) or iDive (www.aquafadas.com).
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A lot of folks use Excel or Filemaker Pro. Do a search here on the Cow on FMP (I just did) – huge amount of discussion on this topic and most of the options have been covered/suggested. Note: Pilotware (pilotware.com) is coming out with a single-user version of their enterpise level Video Logging System that looks interesting – though I don’t know the cost.
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I’m not surprised Avid has a proprietary codec. I’m curious though – at what point does it get applied and how? Is it during capture from your deck, when it gets imported for use with Avid, or on output? Any insight would be appreciated.
Thanks,
Boyd
“Go slow to go fast” -
Not to familiar with Avid and what does or doesn’t do to QT files, maybe someone else can chime in. You may want to look at the properties of the QT files and see if that can shed some light on the situation.
You could also copy one of the files and compare it to one that wasn’t saved.
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Can you just take a look at the files on the harddrives and see what they are? They just might be QT files and then you’d just import them into your FCP project.
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[zrb123] “Didnt you just read the last post.”
I did and I’m glad PR responded and gave us some more info. Also glad to know I’m partially correct, instead of all wrong 🙂
When you crossgrade from FCP Studio 5.0, you receive disks without serial numbers. The cost of $49 is only for shipping and handling. In fact, I used the Universal disks I got for one copy to crossgrade a second full retail version of FCP studio that I had, without sending the disks from that copy in to Apple (I wasn’t sure, but it seemed like it should work and it did).
I’m not sure how or why PR’s situation worked and Apple is pretty cagey about these things. It could be just in how they are handling the upgrades from their standalone apps (Motion, STP, DVDSP), since you’d have to get a complete set of new disks for all the other applications in the studio, you’d need to get new serial numbers. It’s probably a “bug” in their system that since they can’t tell if you have an academic version by the disks themselves, that they send the retail version back.
However, if you sent in disks from 5.0, you wouldn’t get new serial numbers, and if you had an academic version of 5.0, it would stay that way.
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[zrb123] “the crossgrade form for the academic version is the exact same form as the non academic version and noware on the form douse it say that youo will get the academic version in return. I have also heard from others that they did not get the accademic version when they did the crossgrade from there origonal academic version.”
When you do the crossgrade, you just get the disks. The “academic” vs. “non-academic” is in the serial number that you use. The application is exactly the same, therefore the disks they send are exactly the same. You get new disks, BUT you do not get a new serial number with the new disks, so if your SN is from an academic purchase, then the crossgrade is still an academic version of FCP. (I’m not sure, but I don’t think it will work with an academic version of FCP 4.5 or earlier.)
When you actually buy FCP in the store, the boxes on the outside may say Academic, Full, or Upgrade, but that just lets you know what type of serial number you are getting. It has nothing to do with the disks or documentation. For instance, if you purchace an upgrade from 4.5 to 5.0, when you type in the serial number, based on the number, the installer goes and looks for an earlier license of FCP on the computer – if it’s not there, it won’t install. If the earlier serial number is an academic SN, it won’t install. If you purchase a full copy, the installer doesn’t need to verify if there is an earlier version of the serial number on the computer.
For those who shouldn’t be using the academic version, or plan on moving into a pro environment in the near future, it might be worthwhile to see if you can purchase a legitimate stand alone, non-academic version of either DVD SP, Soundtrack, Motion or an older version of FCP 4.5, then spend an additional $199 for the crossgrade. You’ll then be able to get into the non-academic FCP studio environment for around the price of an academic license.