[Carsten Orlt]

what about the list of missing features from Avid so it would appeal to FCP users.

Some people are never happy . . .

I just reply to your post while I should reply to all the ‘not happy’ post and ask at what point the really tiring Avid-FCP comparison stops.

You want an Avid for the price of FCP that does all the thinks Avid does and After Effects and Combustion and Shake and Flame and…..

Nothing is perfect and never will be.

Back to work now for me!

[Carsten Orlt]

Unfortunately you can’t relink to your browser clips once the masterclip to seq. link is broken 🙁
That’s exactly why I had to change my normal workflow of having all footage in one project (50 hours+)
and the seq. in a 2nd to keep files sizes down. Because the masterclip to seq. clip link only works within a project, NOT across projects I now have to have both in one which creates huge project files (but it works)

So only workaround I can think of for you is to use the mediamanager to create a new project from the master seq. and ask to create new master clips. This way you get new masterclips in the browser which you can add comments too and by sorting by tape-tc your able to see related clips so you can quickly copy comments to a group of clips if necessary.
As this new project is always a copy you can’t mess up the original if somehing doesn’t work (still backup though)
Cofe

[Carsten Orlt]

Re-reading his post he talks about both horizontally and vertically 🙂
Kevin help us out here!

[Carsten Orlt]

not sure what you mean??
If you refer to the black at top and bottom then this is a completly different issue and no problem.
If not…

[Carsten Orlt]

I work in PAL but I know for sure that the blanking (or what you call black sides) when captured from analoge Beta SP is to wide and will be rejected.
That said I assume you’re mastering on DigiBeta. If you master on BetaSP it doesn’t matter if you capture BetaSP.
Best to send them a quick test tape or have it independently checked by a trusted post house.
Cofe

[Carsten Orlt]

not a one button solution for this, but
use shift-g to find th next gab forward and when control-clicking (right mouse) on a gab you get a contextual menu with a ‘close gab’ option (be aware that FCP considers all tracks when doing so).
well i’m not sure and don’t have FCP running right now but I wouldn’t be surprised if you find the ‘close gab’ function in the keyboard layout too.

[Carsten Orlt]

I’m running 4 drives in my MDD 1.42DP G4 without any problems.
I actually have all 4 striped to one fast Raid and use an external firewire drive as my system drive.
So I do not see any problems with what your planning.

[Carsten Orlt]

from Macnn:

Apple today updated its Final Cut Pro real-time editing software for DV, SD, HD, and film as well as its WebObjects Web development application. Final Cut Pro 5.1.3 provides several important bug fixes, and is recommended for all Final Cut Pro 5.1, 5.1.1, and 5.1.2 license holders. Render files created on both PowerPC-based and Intel-based Macs now work properly on either type of computer, and the update adds several commands to the default keyboard layout that were missing in the previous version. Final Cut Pro 5.1.3 resolves cases in which cross dissolves did not work as expected in nested sequences containing still images with adjusted motion parameters, and addresses effects compatibility issues as well as video format compatibility. The latest revision also resolves long-standing issues with video scope performance and audio output.

Final Cut Pro 5.1.3 includes native support and corresponding Easy Setups for the 720p24 and 720p25 as well as 1080p24 and 1080p25 HD formats. The update also offers compatibility with DVCPRO HD camcorder devices by adding two new Easy Setups:
DVCPRO HD 720p25 is used for native editing of DVCPRO HD 720p25 footage imported from Panasonic P2 cards. Final Cut Pro does not, however, support DVCPRO HD 720p25 capture from or output to tape.
DVCPRO HD 1080pA24 is used to capture and output DVCPRO HD 1080p24 footage with advanced pulldown to and from tape. The format uses the same pulldown technique as NTSC 24p, and the footage on tape is actually recorded at 29.97 interlaced frames per second (fps). Final Cut Pro removes redundant fields, resulting in a 23.98 fps for progressive scan QuickTime movie on a scratch disk.

[Carsten Orlt]

you can also change the first clips distort setting as videomansf suggested – copy – select all other clips in your seq. and paste attributes with only distort selected in the ‘what to paste’ menu.
only catch: if on any of your clips there is a distort setting now other then the 16-9 to 4-3 compensation of 33.33 you’ll loose that.

[Carsten Orlt]

If I understand your setup correctly you controling the NTSC vtr directly via rs422 and just send the video/audio signal through the snell?
if this is correct then you can’t get it to work!
the rs422 remote see’s 30 (29.98) frames per second while you tell FCP to capture 25. FCP does not! convert the timecode time base. thta’s why FCP is getting a bit confused.
So unless you convert the timecode time base externally you’ll be out of luck.
you could make a dub onto a pal digbeta where then the digbeta vtr generates a new timecode. if you start this new recording at the same time as you master you get the same timecode per second as well.
Cofe