[Fargoross]

Mark makes a few very good points about skipping the renaming process. And dropping clips into a sequence to scrub more video. Also, you could use automator to help rename the clips, depending on the naming convention you use.

I actually find the P2 workflow easier, so I don’t have to constantly subclip, and I can delete clips I don’t need quickly and easily.

The only downside in an ENG/EFP scenario is being able to download the cards on site. But this all depends on how much you shoot, and how many cards you have available. We have 3x 8GB cards, which when shooting 720p, can run out quickly and need to be downloaded in the field.

As far as archiving, we are buying the largest available G-Technology FW400/800 G-Drives available at the time of purchase, and archiving to those.

[Fargoross]

Where are you trying to send this clip? AVI is too generic for me to understand what compression outputs are available. What other options do you have?

Sometimes exporting as an Apple Animation with “Millions of Colors+” is a very efficient way of exporting something with an alpha channel.

[Fargoross]

What are you Flash settings?

What are your FCP settings?

What type of timeline (which video standard) are you editing on in FCP?

[Fargoross]

yeah, i searched all drives, even used terminal to access the drive and check that folder.

I ended up recapturing and fidgeting with the timing and sync to make it work.

But how it went missing remains a mystery.

Any possibility that i may have a *gasp* virus or trojan horse kinda thing? I know us Mac heads don’t fathom the thought usually..
But I feel that I should look into getting the drives scanned for anything suspicious.

-Ross

[Fargoross]

What kind of system are you on?

Even if you have all the settings set up to match the images, that does not mean that your computer can handle realtime playback of that type of video.

I would check and see if FCP supports realtime playback in that specific video codec.

-Ross

[Fargoross]

As a struggling college student at the time, I charged $20/hour to teach someone Final Cut Pro, and help out with production work.

I teach Final Cut Pro at state college in Minnesota, and that gets me about $100/hour when all is said and done.

I’d say go no less than $25-30 per hour. Consider who’s equipment you are using in this as well. One on One training from an experienced Final Cut Editor is quite valuable and a huge time saver to the ‘Student’ to learn exactly what they want to learn.

-Ross Hendrickson

[Fargoross]

After the slight panic last week with the timecode DVD’s, I got right on top of it this time around.

I applied the timecode reader filter to the FCP Sequence, and sent it directly to compressor, I first applied the “Fastest Encode 150 min” setting to the clip, then i adjusted the max bit rate down to 5mbps, and the average down to 3mbps.

These settings allowed the encode to go faster than real-time. (2 hours for 2 1/2 hours of footage). then the remaining 1/2 hour to format the disc made the whole experience ‘real time’.

This is actually kind of a hassell with p2. Because normally I would just use our mini-dv or beta deck, and send that to a DVD recorder, which leaves my edit system free. But doing this ties up my edit system for two hours. (So i took a long lunch.. give and take i guess 🙂

-Ross

[Fargoross]

Thanks for the good input!

What did end up doing now is sending a composite out to a set-top DVD burner, the timeline is playing fine without any render. We still have about three more of these two hour chunks to go through.

So if it is intensive for the processor to decode DVC Pro then re-encode it, my thought would then be to have Final Cut Pro convert the DVCPro 50 files from the P2 card directly to Uncompressed 8-bit SD.
In the end, we want to edit in uncompressed anyways.

Maybe this question is better off in the P2 forum, but can I set FCP to convert/import the DVCPro 50 footage as Uncompressed 8-bit?
or would i have to import the DVCPro 50 and then render out on a Uncompressed 8-bit timeline which would seem to be much more of a hassel, as the initial ‘captured quicktimes’ would still be in DVCpro 50.. and I would be editing with one giant rendered clip.. as i would like to have the individual clips that the P2 provided.

Thanks again,

Ross A. Hendrickson
Video Arts Studios

[Fargoross]

Floh,

Thank you.

Does Media100SW support any type of video out that would be on a PowerPC QuadG5?

-Ross Hendrickson

[Fargoross]

We are stuck with only Media100SW for these edits, so i’m afraid there will be no software upgrade.

Wayne, How do you get Media100SW to send it’s timeline out via Firewire? I have a DSR-45 deck connected via Firewire to my G5Quad, and the DSR sending it’s composite out to the monitor. Right now the signal is not being read via Firewire by the DSR-45 (it has a small LCD monitor on the deck).

Thanks!

Ross Hendrickson, Editor
Video Arts Studios