Dustin Parsons
Forum Replies Created
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[David Parker] “The problem is, like everyone else in post, I are not sure what happens after FCP7, but I am not ready to commit to Avid. However I do need a SAN now, (on FCP7) and so I am looking for the solution that works now, and will work with either Premier or Avid later. The reason I am looking at features first, is, I don’t need full blown project sharing, I just need all stations accessing the same media. I am looking for the simplest way to do that (under the KISS principle, as well as for value). Yes I could get an ISIS 5000, and I am perfectly willing to do that, but I suspect it is overkill for what I want, and therefore fails on the value metric.”
I’m in the exact same position – FCP7 user that doesn’t need project sharing, just access to media files – but I’m looking into transition to Avid so I could potentially need a system that Avid can work with too.
[James McKenna] “The problem with AMA linking is that Avid strongly suggests transcoding. The AMA workflow is fine for basic assembly, but it’s likely you won’t be happy long-term with the performance of an AMA timeline, regardless of the storage system.”
What if I only worked with DVCPRO HD and Apple ProRes files after they had been transcoded/ingested from P2 cards? Or are you saying AMA just doesn’t work well at all despite the codec? I feel like if AMA worked well with DVCPRO HD files then I’d be fine setting up any kind of SAN, but I’m probably wrong about this… right?
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I’m using FCP 7.0.3 and have run Software Update to make sure I’m completely up to date.
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I tried trashing my preferences, repairing permissions, and restarting – that didn’t work. I was able to capture everything fine in Snow Leopard so I know the media isn’t corrupt.
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Thanks for the suggestion Richard. You’re right about just having to bite the bullet and just move over to AVID. I have to make the jump sooner or later and that training series seems like it would definitely ease the transition.
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Wow, AVID is just now getting the ability to use tabs? That seems rather ridiculous. I dunno, nothing really jumps out at me and says, “THIS is why you should choose Avid over Premiere or FCPX.” I feel like all the updates were expected based on technological advances and there’s very little innovation – maybe they were too scared from the FCPX debacle to really try something new.
I’m still a FCP 7 user wondering where to go next. Based on the content that I cut (web videos, 3-5 minutes) AVID just doesn’t seem like it would be as fast as the competition for me. This makes since, AVID wants to hold onto the broadcast market so they pour their time and resources into what they need, however, this leaves very little time for them to work on things that I need. The catch-22 is, I don’t want to be cutting web videos forever and unfortunately, every large company here in LA uses AVID so I feel like I have to learn it.
I remember when going from AVID to Final Cut I initially hated Final Cut, but after about 3 weeks I couldn’t sit at an AVID station without thinking, “This feels klunky and old… why does it take me 3 more steps to do things that take 1 in FCP?” I certainly hope if I go back to AVID I don’t feel like I’m stepping back in time. I hope it’s awesome, I just can’t get excited about it…
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Well that looks perfect. Only question now is… what do I do with the open 4th slot?
Thanks David!
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Whaaat? $300 for Media Composer and 4 years of updates is an insanely low price. Do you know how many classes you have to take before you can get the discount? I wonder if you can sign up for an Intro To Video class or something like that at a local community college and still get the deal – that’d save a lot of money.
To answer your question Mike, I’d reiterate what a few people have said already.
• FCPX might eventually be picked up by professionals but as of right now the majority of people who used FCP 7 are looking at Avid MC and Adobe Premiere Pro (I’ve been editing in LA for the past 3 years and I don’t know one editor who’s switch to FCPX or is planning on it)
• FCPX dramatically changes the terminology and paradigm of editing so if any students start cutting on FCPX they’re going to have a difficult time working on any other editing system
• FCPX is still very new and most people don’t think it’ll really come into it’s own for about another year, even Apple has stated that they didn’t plan on people dropping FCP7 and migrating to X immediately. FCPX is a work in progress and it’s difficult to tell when/if it’ll ever be “finished” enough to have the same mass appeal/adoption that FCP7 had.If you want to give your students a jump on FCPX just in case it does start picking up steam that’s not a bad idea, but I’d definitely teach them Avid first.
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In order to have really good slow motion make sure you have a lot of light, this way you can keep the shutter open as wide as possible which reduces motion blur.
You also need to shoot at a very high frame rate, Go Pro’s highest frame rate is 60fps I think. Bring the 60fps clip into Cinema Tools and conform it to 24fps, this will slow it down to less than half speed. After that, bring it into Final Cut and you can apply any speed changes to it that you’d like.
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Taken from the Resynchronizing Angles in the Viewer section of the FCP Help:
• Double-click a multiclip in the Browser or Timeline to open it in the Viewer.
• Hold down the Control and Shift keys, then click the angle you want to adjust and drag left or right.
• The pointer becomes the Scrub tool. As you drag to the left or right, the video frames jog backward or forward. A box with a positive or negative offset value also appears, showing the number of frames you are adjusting this angle’s starting point relative to the others.
• Release the mouse button.
• The angle is now resynchronized relative to the other angles in the multiclip. If you change your mind, you can undo by pressing Command-Z.
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Yeah, it’s definitely a fear of mine. I wish I had kept up with 3D modeling and animation…