[David Roth weiss]

[Noam Osband] “I usually color correct each clip, getting darks down to 0 and peaks at 100. But I figure if I’m making something with lots of clips….it’s possible I’ll miss something. I’d use it for that. For that purpose though, I’d just apply it as a last step before exporting. Does that seem sensical?”

Yes. However, as editors, unless we are under such tight deadlines there simply isn’t time to QC our work, you should never miss a single shot that’s not at least been corrected within broadcast legal bounds. Finishing requires precise attention to detail, otherwise your work will be rejected, and that typically does not sit well with clients or broadcasters, who will label you as sloppy, and that will follow you if you’re not extremely careful to avoid it.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Rob Gutermuth] “if I use the native settings that FCP wants to convert the seq to from the 1920×1080 clip, and then add the 1440 footage in the same timeline/sequence – it will have to enlarge the 1440 footage
“

No, that’s a misunderstanding on your part… If your timeline is set for 1920×1080 and you add a 1440×1080 clip to the timeline, FCP sees a flag in the 1440 footage that tells it how to properly interpret the footage as “anamorphic,” and it should automatically display at 1920×1080. If it doesn’t work like that you’re either using an old version of FCP or your camera is not adding the flag.

However, since you can’t edit either AVCHD or HDV natively, you should be transcoding both to 1920×1080 Pro Res, and then just edit away.

BTW, check the tutorial “Capture HDV to ProRes in FCP over FireWire” by my old friend Chris Poisson (now deceased), in the Cow tutorial section. It will show you how capture HDV as Pro Res directly from HDV tapes. ***Beware, the timecode will not match the in-camera TC.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

[Noam Osband] “Does it make sense to simply use broadcast safe at the end of every project, simply blanket applying it to the whole project in case you missed a stray excessive element?”

If you know how it works and what you’re doing, YES… If you try to use it as a way to avoid learning and using proper color correction, then the answer is NO.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Bella is out of business

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

What you have discovered is what is referred to as “illegal characters.” You should never use #, _, %, etc, in a file name. Now you know…

FYI, if you ever bring your project to a finishing editor, colorist, etc., the same thing is liable to happen. So, the moral of the story is, use dashes (-), as they are legal, but NEVER ever use other non-alpha numeric characters, or you will encounter these types of issues.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Nick is correct

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Option + Arrow up moves a clip one trk up

BTW, Adobe does the same since CS6

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

You’ll need more than that, because you’ll have to have a way to backup those 100tb, such as an LTO tape backup system. And, keep in mind, you’ll need 10 to 20% free space on the array for system overhead, plus an additional 2-drives worth of capacity to support RAID 6 protection (2 drives can fail without data loss).

You’d be looking at huge 24-drive array, plus the LTO tape backup, and the archive/backup software.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

In addition to what Shane wrote, the Pro Res codecs are referred to as nearly lossless, high-performance codecs, meaning they are very high quality, but NOT processor intensive codecs (such as h.264 and other MPEG variants) that require high level computations. So, they playback easily and seamlessly on virtually any system, and without big and beefy hard drive subsystems.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

If you have an I/O device (AJA, Blackmagic) try uninstalling the drivers and reinstalling. May accomplish nothing, or may give you seamless playback again.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.