[David Bogie]

I’ve never used an Avid and do not know how they do multicamera edits. FCP’s multicam is cool but it’s a lame implementation, very tricky. Study the manual, create a small practice project, try to figure out if you want the multicam keyboard shortctus loaded ( I like them) and then try to do some cutting. There many many many little gotchas that screw us up and they’re too numerous to list here. Trust me, though: it really works. Almost every post we have ever seen (on all FCP forums) about multicam failures are simple user errors that are easily fixed. The trouble is finding which of the many possible gotchas has caused the failure.

Good luck and welcome tot family. You’re going to love FCP, you’re going to thoroughly hate it.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

We’ve seen this topic dozens of times over he years. The hardware seems to be where people focus. My suggestion is to make certain your budget and planning include comfortable chairs, adequate air conditioning and circulation, power conditioning and uninterruptable battery for about 5 minutes of computer and drive service, an espresso machine (about $1k, I know from espresso), insurance, and a backup program that guarantees you can be back in business in a worst-case scenario.
These are a few of the things that fail to be included in remodels, startups, and rebuilds after catastrophes.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

> I’m looking at it fully rendered in FCP just playing back the sequence.

So your answer to Tom’s question is “No.”

The Canvas is not a full rez image and it sounds like your rendering settings are off, they do not match exactly the sequence settings.

Has this never worked for you or is this a sudden development?

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

You can superimpose it with a filter. You can pull t/c from a sequence but it may or may not f follow the clip.

Tell us what you mean by “embed” and what you’re trying to accomplish. Where are the clips going that you think you want or need t/c? Are you expecting to see it, use it, or recover it from an external reader? The dozens of formats and input/output devices that are used with FCP all have different approaches to handling and passing t/c.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Can also be done with CC Particle — umm, I forget which one — you can use the alpha of a layer as the emitter shape. Not nearly as flexible and lovely as Trapcode’s particle options but I use CC particle systems often (cuz I odn’t have Trapcode).

bogiesan.

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Short note:
To get good results form CC Sphere, the original illustration needs to be 2×1 ration, twice as wide as high. It’s a function of how the polar coordinates get wrapped. If your illustration is not 2×1, you may want to redraw or carefully crop it before attempting to move it into CC Sphere.

And don’t forget to avoid the mistake 90% of globe animators make: The Earth rotates so the sun rises on the east coast of the States first.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Not sure what you’re calling “embedded.” The term means many things depending on your sources, Motion, LT, STP, FCP nested sequences?

I cannot explain why this is happening but the workaround, as I interpret your post, is to render the upstream sequence as a self-contained movie. Import it and apply timecode reader to it. The problem, of course, is if you’re using nested sequences, changes made upstream do not reflect in the t/c burn and you must output another movie before t/c ins applied.

Most t/c requirements for output from FCP are handled this way fo simplicity and speed. But individual workflows demand creative answers. Some of our users must have tape burns and they’ve found it easier to use old fashioned t/c inserters over composite video on the way to a VHS or Betacam deck.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Anyone know a good site that includes useful reviews of HD tv sets?

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Possibly welcome to the family.
All systems are unstable, all applications crash, all drives eventualy fail. There is nothing inherently more or less stable or useful about FCP on a Macintosh than any other system or NLE.

All claims of superiority are lies.

You may love working in FCP, you may thoroughly detest it. Try to find out before you invest.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Do not presume around here, we all have different brands and models of stuff. What format is this Sony of yours? If it’s DV, plug in the FW and push reord then play the timeline. If you’re looking for an insert or assemble edit to happen on a pre-determined frame, you have some surprises coming. I’d try to build your slate and countdown and everything else directly into the timeline.

But you have’n’ told us anything we really need to know about your goals. “Broadcast” has no meaning these days. Are you targeting anybody’s specs in this video?

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”