Carsten Orlt
Forum Replies Created
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why is getting common that people don’t read the intial question.
there was never a dispute that you can apply a filter to a clip in the viewer.original question quote: “I can add filters to the timeline, or to an idivididual clip while it’s in the viewer, but…”
And David gave a good reason why HE wants to apply a filter to a clip in the browser directly.
The whole point of this forum is to ask questions, how ‘worthless’ they may sound, and for peers to give answers or confirm something is not/is possible.
Maybe we can start to get back to the roots.
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you’re right, it doesn’t work.
the sentence in the manual is misleading, I agree. What they porbably ment was that filters applied to a clip in a seq. and applied to a clip in the browser (by opening it in the viewer) are independent from each other.
you’re workaround via a seq., applying the filter to all at once and dragging them back to a new bin sounds like your best option. -
you can check if there is timecode by opening the ‘movie properties’ command-j
no timecode track – no timecode
if you want to make sure it has one from exporting from FCP – always use the ‘export as FCP movie option’ if you don’t have a seq preset with H264 just create one via the audio/video settings. -
you can either enter new timecode (modify-timecode) for a given clip
or
enter a auxiliary TC through the same method, leaving your DV tape TC intact.If you change the original TC be aware that after doing so you can’t recapture from the DV tapes anymore unless you change it back again.
Biggest problem you have is to find a definite frame where you are a 100% sure you know the exact Beta TC, AND that there are NO TC breaks on the Beta tape!!! Because when not copying the TC from the Beta to the DV tape, any TC break will not be shown on the DV tape because the DV VCR created a new TC! If there is one you might get the first section correctly, but after a break (or several breaks) you can be out by anything from 1 to xx frames. Unfortunately every camera start-stop can produce a break of 1 frame, even if the TC in the camera was set to regen or the camera operater used the the recue function. (hope this sounds not to confusing)
I’m not sure if you can use the auxiliary TC for recapture once you go back to your Beta tapes? I only know you can use the auxiliary TC for edl’s.
My honest advice: Either get a new transfer at a different post place which have a DV VCR with TC in (to copy the exact TC) or hire a Beta VCR to capture directly from the Beta tapes. You will save A LOT OF TIME later.
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If you need a broadcast master in NTSC: go to a professional post house which uses one of those boxes which cost $150K or so. I’m not on the latest Mac but for the time it takes to get the same result on the desktop (if at all) it is not worth it!
If you need just copies to send for screeners: I use compressor. Slow, but good results and you can make a preset.
e.g. for DVD delivery Pal to NTSC: duplicate one of the apple presets for DVD encoding (I use the best-120min-16-9-Mpeg2 item in the the folder) / set the encoder/video format to NTSC / switch to frame control and only change the bottom setting for ‘rate conversion’ to ‘good’ (if you choose better then this the time needed really goes up dramatically) / save the setting (was already placed after duplicating into your custom folder).
to burn a proper NTSC DVD export the audio as Dolby2 directly without time change!! using compressor / bring this audio and the converted video into DVDStudio (set to NTSC) and everything is lining up perfectly.I used this to make screeners for clients and for festivals and never heard any complains!
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your right. fcp looks for media that has exactly! the same length and tracks.
so capture now will never produce he media for you to be able to relink.have you tried to select the original MASTER clip(s) (the ones you first produced with your ‘capture now’ approach) in your browser and choose ‘batch capture’! this way fcp recaptures the clip exactly as it was. no naming or manually relinking necessary.
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Good question!
You would think any Firewire800 equipped computer would do.
FCPStudio2 specs say minimum hardware is a dual G4 1.25.
Just checked Aja site and no minimum hardware specs yet. -
Out of interest: Mike, why do you think BlackMagic could survive in this environment having the same battle on their hand?
Don’t get me wrong. I’m/was a loyal Aurora man and still can’t understand after even Apple admitted that the Pipe + drivers was the most stable FCP they have ever seen that they didn’t hire you guys on the spot?
This year I finally have to move to HD and the ioHD looks like the answer (still have to see one in action first 🙂 but truly I rather would buy an Aurora product if still possible.
But then again these days I’d rather buy Aja then I would buy BM even if Aja is a bit more expensive for same hardware functionality and that probably for the fact that Apple and Aja work closely together and because Aja actually makes very good products :-).
Shame though for Apple’s behind door politics, because I always thought that one of the strength of FCP was the open system so other smart people can develope one part of the chain and really concentrate on making it perfect. But maybe costumers actualy don’t want this as Avid was always very sucessful to sell turnkey products totally overpriced!
The Cold Mountain story is really the most amazing bit in this saga. The first big Hollywood type feature cut on FCP and only possible thanks to Aurora hardware and this very fact completly ignored by Apple. Would be really interesting to one day find out why Apple made this descision. Will we ever know…
Last question: Why doesn’t Apple buy AJA? They bought everything else they rolled into FCP.
Carsten
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yes it all depends on how good the ProRess codec is.
My guess is if you do broadcast work only (deliver 720 or 1080) it is Apple’s answer to the Avid DnxHD codec which is the same principle. In order to efficiently handle HD footage both use compression to not depend on super raid setups and get a lot of RT functionality. Avid’s codec seems to be accepted by the industry so I doubt Apple will have taken the risk to come up with anything less.
If you’re extremly fuzzy (only accept uncompressed) and if you need to do 2K work for film output the IoHD is not for you.
Looking what broadcaster actually transmit and what consumer LCD/Plasmas actually display, I think the ProRes codec will be just fine and could save you a lot of money in Raids etc. And if working ok (I’m thinking latency here) it also makes your I/O purchase more future proof in regards to changing hardware specs (PCIx vers PCIe and what ever comes next?)
But some testing needs to be done to be sure.
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Man you nailed it!
out of all the post this is the only one to the point.If you fear competition you are still an amateur at heart….