David Battistella
Forum Replies Created
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Brookes,
let me add this. If you go to huge’s site and search the knowledge base for article 101 it will show you how fast the drive is as it fills up. Even at 90% capacily in RIAD 3 it will give you over 200MB/sec. it shows you single channel speeds as well. The aja speed tester raates the thing at about 490MB/sec in Riad 3 mode striped across two channels.
https://www.hugesystems.com/Support/
click on search the knowledge base and enter 101.
In Raid 3 you loose about 25% of your drive space so a 4 terabye turns into about 3 terabytes.
David
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Make sure it is rendered and amybe place a de-interlace filter on it.
David
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This is a codec issue. Which sodec are you using. Are you using Apple’s 10-bit uncompressed codec?
Can you try another codec to replicate the problem.
David
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Nick,
Do not discount the AJA. I would look into this because the way it works is FCP hands everyting to QT and then that goes to the AJA and back to FCP. In other words, once you plug in the AJA it is responsible for displaying canvas viewer and external monitor because of how the signal has to be routed. It’s not that FCP takes care of teh canvas and viewer and teh AJA does the rest.
This may be hardware related. I know you can’t play out the sequences without the AJA but you may be able to disconnect it the next time you see it and see if it goes away.
Also, this could be an FCP & PAL & QT thing, I know that there are field insertion issues in PAL when dealing with a 25 to 24 pulldown for film so it could be a bug in that workflow.
David
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Is there a link to this article. I can not find it on the cow.
David
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Wayne,
You are describing two very different scenario’s. A proper color correction as well as a proper sound mix can lift the quality and content of any film. This is obviously because we are affected by what we see and what we hear, and a skilled colorist and sound designer can bring a TON to a production.
If it is your aim to get the film you are working on “into spec” then the broadcast safe filter will do that. It will put the blacks at 7.5 and clamp the LUMA at 100 units. The FCP broadcast safe filter does introduce artifacting and noise which can be rejected by a stict QC tester at a network. More and more networks are handing tapes you submit to third party Quality Control company and they will provide you with time code accurate lists of “dropouts, artifacting, vertical blanking, VITC or LTC time code errors.
You should check teh deliverables spec sheet of the broadcaster you are submitting to.
While broadcast safe sounds like a handy all in one solution it may not solve all of your problems.
I know that of time and budget permitting anything can be done, but it may look better if you use teh three way CC, you can always create a balanced look with that and then scroll through the timeline to look for out of range shots and fix them individually.
I am sure that Joes’s broadcast safe is cleaner than the FCP one.
David
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Where is the download site?
Is there a readme file for the fixes to FCP 5.0?
David
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Try this article
https://www.lafcpug.org/FCP_4_trim_dang_it.html
and
https://www.lafcpug.org/basic_onlining.html
These step by steps should help.
David
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I think you are looking for an AVID style, media manager, select referenced clips, inverse selection delet selected clips solution.
What you could do is this.
Use media manager to move the render files to a new folder and then delete the old folder. This would be a good feature request for the FCP team.
Towards the end of a project I tend to delete all of therender files and re render only the final sequences if I find that space is becoming an issue.
David
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Yes ,
You can use the render manager to do this.
When the dialog window pops up you can select the renders you want to delete and delete them.
You can also do it from the root leel of your hard disk by going to the render files folder and deleting them directly from there.
David