[Dan Wolfe]

well the speeds are drive specific. swapped Bay 2&4 and now the two drives that sustain 120 MB/s are in Bays 1&2 and will become my software RAID 0 for scratch and Bays 3&4 will be P2A and P2B for backup. weird that four identical drives purchased at the same time have different speeds. quality control? ha…

[Dan Wolfe]

got it. I know I sounded really stupid thinking that I could pan a mono track but I was just confused for a minute since I had the pan option in FCP. I wasn’t thinking about the fact that that was dependent on my audio output setup, which was stereo. once I switched the sequence settings to output dual mono, obviously the option wasn’t there. duh me. so general practice for me would be to use my normal stereo sequence settings for editing, etc, and then just before preparing a Ki Pro version for playback, duplicate my sequence and change the audio output to dual mono and export a Ki Pro specific version, correct?

apologies for the momentary mental molasses,

[Dan Wolfe]

wait, I can pan a mono file in FCP. just tested. if I import a stereo music track and then Option-L to make the stereo track dual mono, I can then pan each mono track. am I missing something obvious?

[Dan Wolfe]

hmm… so since I might encounter all types of different projector & audio setups at each venue it would probably be best to pan the two mono channels left and right in FCP before exporting correct? just in case I don’t have control of the pan at the venue?

I’m using a Kona LHi in a Mac Pro. My projects are all AJA easy setup 720p59.94 ProRes

[Dan Wolfe]

cool, that’s what I thought but I wanted to double check. thanks jeremy. another question though… after reading some posts it looks like I’ll have to export my ProRes playback masters with dual mono as opposed to one stereo track for best playback? or has that issue been addressed with a firmware update?

[Dan Wolfe]

yes, I sent an email to them before posted here. I received this response from imagine this morning:

Thanks for the heads up! We fixed it this morning.

We were trying to fix the situation where people were dragging folders into the process list expecting the folder name to be included in the back up. Problem was it did the same as a regular card back up where we did not include the card (folder) name–thus if you dragged a CONTENTS folder over you’d get just the contents of it, not the top level CONTENTS folder itself which made the copy unusable.

In fixing that we inadvertently added the card name into every back up.

The build we uploaded this morning now senses whether it’s a mounted drive versus just a folder on a disk and treats them differently.

Please update your copy manually, since we didn’t change the version number: https://www.imagineproducts.com/files/macintosh/ShotPutPro_3.dmg

Thanks again for the quick response.

[Dan Wolfe]

with all do respect to everyone who posted, I don’t consider my request ‘lazy’ or a way to cut corners, in fact, I find it much more efficient. it’s up to the operator to determine the length of said handles, depending on disk space needs or future editing possibilities. besides, it would just be another option, not the only way to import, so if you don’t agree with it and it doesn’t fit your workflow, you don’t do it. for me, as an editor who works with a large amount of short, specific clips, it would speed up my workflow tremendously.

I’m aware that I could just instantly import my entire P2 clip in L&T and then set i&o points or trim just once in the viewer/timeline, but by setting the i&o points in the L&T window the points are retained whenever I re-load the reel again if need be (via logging cache).

maybe just a simple check box in L&T like “transfer entire clip beyond i&o”, or the handles option for more fine tuned control. that’s all. simple.

[Dan Wolfe]

I don’t think the issue here is the length of the handles, it’s about being able to have handles at all. when working with P2 for instance I’d love to be able to import entire clips but have the i&o points set from the get go via L&T. that way editing is sped up but I still have the whole clip on disk if I ever need to go back to it and use more or a different section.

I’m going to submit a feature request to apple

[Dan Wolfe]

just bc ‘every NLE doesn’t do this’ doesn’t mean it’s a worthless idea and that I make no sense.

let’s say I filmed evel knievel jump a bus 100 times. I start each recording when he revs his engine and stop the recording when he’s way beyond the landing ramp. the producer wants an edit of all 100 jumps in a quick succession, so I know that my trimmed in point will probably be when evel is at the bottom of the takeoff ramp, and the out point is when he’s at the bottom of the landing ramp. with a ‘handles’ option in L&T I could mark the i&o point IN the L&T window (start of the takeoff ramp and end of the landing ramp), but still import handles in case I need extra for crowd reaction, etc. then once the 100 clips are imported I could select them, drop them on the timeline and be much closer to the edit that I need to deliver. I’d only have to hit ‘i’ 100 times and ‘o’ 100 times in the L&T window.

with the current workflow I have to set 200 in points and 200 out points (once in L&T and then again to trim in viewer/timeline, etc). it’s really a very simple idea and would probably only take one line of code.

now tell me that that makes no sense?

I usually like most of your knowledgable responses here on the cow but your dismissive, know it all attitude regarding this topic is really aggravating.

[Dan Wolfe]

um, wow, ok hot shot. yes, I do know how to edit, and I know how to do things right. we are using computers after all, and computers should be able to improve our workflow & organization. I would like to mark the i&o points that I will likely use and have final cut also import a few seconds on the head and tail of each clip (handles) so that there is enough of each clip there for needed video and audio fades, etc. I usually know what part of each clip I’m going to use in the L&T window but would just like to automatically have the handles added for safekeeping. I don’t see the reason for marking i&o points in L&T for the entire clip, then having to go back and set the actual (trimmed) i&o points after the clip has been imported. I typically work with many short clips and this would be a huge timesaver.

now please cool your jets, what I’m saying makes perfect sense, you just don’t completely understand what I’m requesting, which is clear based on your response, and really? with the lumberyard analogy? you’re telling me to account for the handles in my i&o points in the L&T window, which is what I think is inefficient, because then I have to go in a second time and set my trimmed i&o points. I’d like to mark the ACTUAL i&o points and have final cut automatically add the elbow room that I might need, but have the ACTUAL i&o points ready to go when I start dropping things on the timeline. and please, don’t insult my knowledge or ability as an editor thank you very much. take a little more time to digest my point of view before you spout off again.