Bret Williams
Forum Replies Created
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Maybe quicker, with arrow tool active, hold down option and draw a lasso around the audio portion of the clips. Press delete.
Alternatively you could turn off “linked selection” and then just highlight them without using option. Linked selection is one of the default butotns in the upper right hand corner of your timeline.
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BTW The tab I’m talking about is in the log and capture window/dialog.
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Is it not in the clip settings tab like in FCP 5? In the audio area of the tab there is a check box that says preview. It will also default to off every time you open the window for obvious reasons. You aren’t supposed to digitize media with the apple computer speaker on. It can easily cause problems with your capture. You should be monitoring audio through your caputre card, or in the case of firewire capture, through the output of your deck. The preview check box is there just to make sure it’s making it to your computer.
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Well, creating a new project is a strange step that I think you have to go through. But I just take the bin and sequence it puts in the new project and drag them to a bin in the old project that I label ONLINE SEQUENCE or something.
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Definitely try that. Exporting from FCP directly to compressor can take 50 times longer. I have no idea why. But it usually does. Just last night I was trying to burn a 1 minute h264 300kps via export for compressor. The time kept jumpinig up. From 1 min to 2 to 30minutes!
Same file via export to quicktime then into compressor took about a minute to create. Plus, I can use FCP while it’s crunching.
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[Dave LaRonde] “They didn’t adopt 24fps because of “filmic impact”… they didn’t adopt it because “the slightly surreal motion lends itself to more effective visual storytelling”… they didn’t even CONSIDER all that modern-day, phoney-baloney, film-school crap.
They adopted if because it was the cheapest stinkin’ frame rate they could get away with! Less film goes through the camera… more money goes into your pocket. It was all about ECONOMICS. Or cheaping out, take your pick.
Louis F.B. Mayer and Jack Warner and Mr. Paramount COULD have dictated, “We’ll shoot at 48fps because of the improved, smoother motion,” and the rest of the world would have followed suit. They didn’t, they thought with their wallets. But if they had, the film guys would be looking down their noses at the TV guys saying, “Well, you know that 30fps gives television that herky-jerky motion….””
The adopted 24fps, as I learned, because 12fps is the bare minimum to achieve persistence of motion (the point where you brain connects the sequential images as a consistent motion picture) so they simply doubled that for higher quality. In the hand cranked days guys would try to crank at 12fps. Since that flicker would put you to sleep, maybe it was somehow more compatible with equipment to double the film speeds. Probably easier to cut anothe notch in the projector shutter and change sprocket holes or something to get 24fps.
I used to watch the old films in history of cinema class and they were hipnotic with the 12fps flickering. I don’t think I ever saw the endings. Just put me right to sleep.
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Everything I’ve seen is matched pairs on their own risers. Not spanned across risers. I’ve got the original 2 512s on 1 riser (as they came from apple) and another matched pair of 1gigs on the other risers. I’ve had great performance on my 2ghz mac pro. Especially with the new fx from motion that are inside FCP 5.1.4 as well as the FXFactory plugins. That stuff renders and plays back practically like a dissolve. And with only 3 gigs I’m still surfing, emailing, and running my ical, etc. all at the same time. Just mainly doing DVCam and 720P DVCProHD stuff.
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I think you work in a 16:9 sequence, with the footage checked as anamorphic. FCP will pillarbox and make adjustments to the SD 4:3, and will display the SD 16:9 correctly. I haven’t done a widescreen DVD but wouldn’t you mark the footage as 16:9 in DVDSP so that the player knows to either letterbox on a 4:3, or play 16:9 or a widescreen LCD?
I’m sure someone will chime in on that.
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These are the little things that tick me off. Like yourself, I’ve been using FCP since 1.2. Up until version 3 or 4 it DID remember the export settings. My guess is it’s a little nuance that didn’t make the jump to 3 or over to the OSX platform or something and nobody ever made the effort to put it back.
Tons of little things like that. Like when they removed cmd+d (deselect all) and didn’t replace it with anything. At least at the same time they introduced keyboard layouts.
As well, if you had a nested sequence you used to be able to option+drag and it would keep the relationship to the original sequence and if you copied and pasted it lost it (or vice versa). Now, if you do either it breaks the releationship.
Rant over
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Shall we add all the adobe products to that list as well. Try to open a ps doc from 10 in 7. Nope. It doesn’t really know what is is except for the extension. Isn’t it funny how the ps 7 creators couldn’t forsee the future and make 7 compatible for 10?
Now Avid is a little differnent beast. Since it saves a project file and all the bins adn sequences as separate files as well (hey FCP, might want to look into this idea) file corruption isn’t a problem and often you can get a bin or sequence to open but no guarantees if it has sometihng in it that isn’t understood by the older version. Project files won’t open backward.