[David Bogie]

Looks like they’re optimizing existing (idle) power. No doubt the new hardware will be needed for the higher end formats but, trying to read between the lines of the marketing hype and the reports, looks like there’s still plenty of available overhead in CPU and GPU to handle this. Recent threads indicate mixed format is a PREVIEW ONLY effect with a green render bar on previous generation Macintosh models.

Sorry to butt in, I’m just speculating.

bogiesan

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

[David Bogie]

> Anyone have any idea why the GL2’s are giving us such headaches? We’re using Mac G5’s with the latest OSX. Thanks. < Search for the camera model in the FCP forums. You will find lots of problems and lots of suggested solutions. > The tapes were shot on the GL2’s for a video production class I teach. This semester has been very frustrating because students will shoot on the GL2’s and then have to capture on the one Panasonic that is available; this, of course, really slows things down. < I understand your frustration but I'd have to say that if the GL2 is shooting tapes that can play in other machines but not onboard, you've got a GL2 problem, not an FCP problem. Could be the FW port, could be Canon's oddball DV codec at the FW port (that the Panny is ignoring or correcting) or lots of other things including, but I doubt, the version of QT you are using at your facility. The other part of the debug that is impossible to work on from where I sit is has it always been like this or did this start with an OS/FCP/QT (pick one) update? If you cannot fix it, you've got to make the snafu part of the real world experience. Your production facility just had a fire and half of your capture stations are in ruins but your clients still require their productions on time. That's life in the video biz. It's up to the students to figure out how to cope with scheduling and sharing so everyone gets their grades. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Another thing to consider is the value of what Apple’s toolbox replaced? In our case, a $25,000 Media 100 system and an annual upgrade-tech support fee of $2,000.

If we had purchased Avid back in 1996 instead of Media 100, we would still be w-a-y ahead economically for converting to FCP in 2001 or so.

bogiesan

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

[David Bogie]

IMport the files into QT Pro and save out as conventional DV.
Import the copies into FCP.

This error will be coughed up for several reasons. Your AVI was created on a PC and probably is saved to a non-Macintosh drive and uses a codec that requires intensive software processing. Saving out of Premiere to a Mac-based drive using conventional DV or to a Quicktime codec (or a lower common denominator like Animation

[David Bogie]

Yar, one of those remarkably weird little-used feature-ettes. I use QuickView often.

bogiesan

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

[David Bogie]

Yar, one of those remarkably weird little-used feature-ettes. I use QuickView often.

bogiesan

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

[David Bogie]

Did you shoot the tapes on the GL2 or are you just using it for playback/capture?

Canon’s version of DV is slightly off and this can cause all kinds of horrible issues. The only solution is to use the earlier Canon machines for shooting and ingestion of the same tapes. You can play some Canon MiniDVs on some decks but I cannot recall much success from folks using the Canon GL or XL to play tape recorded on Sony or Panasonic machines.

Worst case scenario is to dub your tapes and capture from the dubs.

You can search for the Canon GL2 and find hundreds of similar threads.

bogiesan

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

[David Bogie]

That would sum it up, Chris. But it’s way different than precomposing in AE. At least it is till you get the hang of the naming convention.

Let’s say the nested stuff needs to be about 10 seconds. I will usually build it in a 20 second sequence. I try to anticipate the lead-in visual and then hold everything at the end. Audio can be a problem in nests because FCP wants to put it in the autoselect buggers.

On most nests, I can render everything that doesn’t change and then just add the text or other unique attributes.

You’re working on an infomercial, yes?

bogiesan

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

[David Bogie]

This message is the result of a fast groupthink among some folks over at the apple forums. We see this rant with each FCP update so we crafted a brief-yet inoffensive-universal response. Feel free to copy and paste this note, or a version thereof, to other FCP forums.

This is from some of the regulars around here (not all of them, just some of us):

Hello all. Just a friendly reminder:

1. Upgrades happen.

[David Bogie]

Doing character animation in After Effects is a stylistic decision. You must think paper dolls, puppets and “South Park.”

If you need to simulate cel animation, you need a real animation system.

bogiesan

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