[David Bogie]

The speculation about Apple’s marketing strategies is worthless, I agree, but I disagree with the idea that the new models may not offer the same kind of giant leap that the new ‘Books did. All I can say is try running FCP on a MacBookPro (or Aperture or Motion) and compare it against anyone’s quad G5. the experience is a tangible and clamorous harbinger of what’s to come.

I say, buy a little old used dual G5 if you must have some raw power right now but I would not recommend buying a desktop machine until the Intels are out and you can actually sit down and play with one. You’re gonna be really sorry you bought early if the new desktop machines are even a slight improvement over the existing G5s. The potential for new and improved software is just too huge to ignore, too.

Just my opinion and it’s YOUR money.

bogiesan

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

[David Bogie]

Welcome to the family of disaffected Media 100 suers!
It ain’t all that bad, Bobby. This is really only one of the things that will drive you nuts about FCP but eventually you’ll forget all about Ye Olde M100. (Close All Gaps is another one I really miss and FCP’s AutoSelect is going to make you scream.)

You just need to think about your workflow differently. However, if you were not using M100 before Export to AE was available, you may have never developed the procedures.

If you do lots of multi-layered stuff you must invest in Automatic Duck. I don’t use it myself but I have never seen a negative post about the products.

bogiesan

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

[David Bogie]

> Thank you for the insult, but I do understand what safe areas are for. I am going to television, therefore, safe areas do matter. Because the text I am using isn’t in text form, I am wondering if I can go a little outside of the text safe area and still be okay.
< Nobody insulted you. You didn't know what you were talking about and we can't answer a question using your own made up terminology. You got the explanations you needed and you said thanks. Now you just need to say you're sorry. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Depends on your render settings and where you’re viewing the output. Things will look different on a video monitor than on your display.

bogiesan

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

[David Bogie]

You’re thinking about credit rolls as a self-contained item or a filter. Instead, think of building a tall composition. The comp can be done in any application that outputs an alpha. Then use motion keyframes to move the whole thing up the screen.

Let’s say you want some of LT’s great effects. Create them as little movies, import them into FCP, make a sequence that is, say, 2k tall and 680 wide. Place the movies into discrete locations in the vertical frame, Place other text itmes in the frame.

Bring this comp into a stand-szied comp. Resize it to its original size if FCP insists on squishing it. Move it off the bottom of the screen, set a keyframe.

bogiesan

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

[David Bogie]

No way to know from here without being able to see yoru files.

Use a different codec and tell us what happens.

bogiesan

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

[David Bogie]

Get the one that costs the most and looks like it will satisfy your input needs for at least three years. If you don’t know what your input needs will be in two years, don’t buy a new card.

bogiesan

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

[David Bogie]

The question implies you do not understand what those safety areas are actually for and how they are used. The explanation in the FCP manual is a good place to start.
The decision on the edges of your frame depends on your final output. If you’re going to television, use the safe areas. If you’re going to computer, it doesn’t matter.

bogiesan

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

[David Bogie]

So you’re not shooting it but you WILL edit?
In that case, hire a really good wedding video shooting service. Do not depend on well-meaning but unskilled friends or amateur who don’t know how to compensate for backlight or what a tripod is for. Compare the cost of having it professionally shot against what you’re spending on your invitations and napkins.

bogiesan

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

[David Bogie]

Use google and start searching for wedding and event photographers groups. There might be one here on the cow.
Digital Juice has several sets of specialized prebuilds that might apply to weddings but FREE? Not hardly.
But before you spend money, you need to evaluate your delivery product, starting from the back. what are you going to hand your newlyweds and who is going to be paying for it?

If it’s a DVD, DVDSP has a built-in set of lovely wedding tools that have been sued by everyone but maybe not your client. If the bride’s mother is paying, you should find out what she wants and forget the bride. Do you need satin, hearts, candy, a theme of water or dancing or cakes? Find out BEFORE you spend ay of your own money.

There are entire books on how to shoot weddings.

The tools that come with FCP are entirely sufficient to produce great or sappy wedding projects. It’s all up to you how you use them. Or buy canned tools, they work, too.

bogiesan