David Battistella
Forum Replies Created
-
Put the bars in the timeline and that might make a difference.
David
-
Michael,
I would set up the monitor according to the FCP bars as everything other piece of video is coming through FCP. I would apply the same principle to audio, play your tones from FCP to set your audio and video levels.
While I do not doubt that the Igniter bars are accurate, you should use the FCP bars because this is showing you the signal path. That is the signal fcp hands QT to play through igniter.
David
-
Just think about how hot the G5 Chips run.
David
-
Or.
Open up the bin you wan to print and use APPLE KEY+SHIFT+4 to draw a picture around the bin and take a snapshot of it. This will palce a PDF of the shot on teh desktop.
David
-
I have to say I am with Pete on this one. It is, after all called Final Cut “Pro”. I think that any “pro” expects this “pro” type feature in a “pro” app.
Here is a workflow thing.
You quickly log a tape and while you are capturing you notice that the clip is coming in a bit “hot” . You can stop your batch capture and then adjust your levels and begina recapture right there. It is also an extra back up. I have had situaltions where an assistant captured clips with the V only set in the settings tab. Granted this was a small honest mistake, but there was no way of knowing that the tracks were turned off.
IN FCP 5.0 the Log and Capture tool has had a very minimal overhaul (as has edit to tape) the large button, moving meter AVID style interface wins here, especially from a software design perspective.
I would have placed this above multicam. At least there were third party solutions for multicam already out there. Multi cam was always an extra purchase with AVID, it was never one of their core features. You would rarely see an upgraded “multicam avid” back in the day.
Show me the sound 🙂
It’s not too much to ask from the best editing software on teh planet.David
-
the driver readme file states that it has corrected this issue. are you still seeing audio sync problems on capture with 1.1.2?
David
-
For the record.
This is happening on both a G5 dual 1.8 and a Dual G4 1.25.
This is the Production Suite upgrade version of FCP 5.0 from regular Standalone FCP 4.5
Maybe it is possible that it part of the equation.
Daivd
-
Darren,
If the mono track is matched code to the 12 tracks it shoudl not be that big a deal. You can get the first eight tracks in teh embeeded SDI and just drop the 8 tracks below the mono track, turn on you waveforms and line them up.
Do the same for the 4 additional tracks on a different path.
You could also creat twelve tracks with the mono track. Capture the matched code 12 track master and then manually relink the “good” tracks to your sequence.
The KEY is absolute matched code guide track.
The other optionis to grab the twelve track masters and hand sync each song by lining up the waveforms. If you are coming off dat you can use machine contol and the SPDIF port on the mac if your capture card does not support this many tracks.
David
-
QT 7.0.1 does not fix this.
Try the test on your own.
Import some high rez jpeg files. (froma digital camer or whatever)
Drop one shot in a DV timeline (you will get a light green RT bar telling you this is a full resolution RT)
In the motion tab put a move from 45 to 100 with a couple of key frames
Blade the middle of the 10 second shot and render the first half.
Compare frames 4:29 and 5:00
In FCP 4.5 you would not have seen a difference between these two frames and now you do.
I Like that the render quality is better, just don’t tell me that it is real time. if it shows up a dark green line then at least I can get away with ot rendersig some true FULL RT light green line stuff.
David
-
This is a good time to use the “send user feedback” built right into the FCP software. With enouhg requests they will respond.
David