Frank Nolan
Forum Replies Created
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If you are not concerned with timecode or sync, you should be fine. Just load the reels up on a 1/4 inch reel to reel machine.
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[Laurie Pepper] “I’ve located and obtained the original Nagra tapes. How do you playback/transfer them?”
You need a 1/4 inch reel to reel machine.
However if you need to sync these up to the original film footage, if it has been transferred to video, you will need a machine that is capable of doing a 0.1% pulldown so the audio will match the video. -
When I did the capture now I wasn’t able to include log notes, only the descrition, scene and shot/take #’s. Being that you are doing this for the first time without a run through to see if the chosen workflow will indeed work, I would be inclined to use a smart slate as I suggested just so you have a plan to fall back on if the timecode doesn’t transfer to FCP as you would hope. You can rent one for about $50 a day. and it will stay frame accurate for a few hours before needing to be re-jammed from the camera.
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I dont think it’s possible to use media captured in an Avid in FCP.
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[ThomasArts] “The “Capture Now” feature of FCP is very crude. I like to enter Reel, Scene, Take and Description info to every clip which references our Director’s notes. In the past, when I’ve done Capture Now, FCP doesn’t allow me to enter any of this info automatically.”
Are you making sure the little box to the right of each field is checked? I just typed in the reel #, description, scene and shot/take number and did a capture now and it worked fine. As far as your timecode issues click on the link below and it will download the manual, you may be able to sort out a workflow after reading up a little.
http://www.actualfilms.net/assets/HD-camera-manual.pdf
One solution for matching FCP to tape timecode, would be to have a smart slate jammed with the time code from the camera, set to time of day free run. That way when you slate each take if you aren’t able to get timecode into FCP while capturing live, you could always reset the timecode on your clips later using the slate as a reference that will match back to your tapes. Resetting timecode on clips in FCP is a relatively easy and quick procedure.
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Should work fine although dont forget about your monitoring options for HD work.
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Are the fades for the subtitles created with a transition effect or were they created with opacity keyframes?
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FCP 5 can have up to 24 audio outputs at the same time. The limiting factor is the hardware device used. So it will depend on your capture/playback card. Assuming you have a card or AJA Io, then you go to Sequence>settings>audio outputs tab. Choose 4 channels and make the first pair stereo and the next two dual mono. Then in the timeline, control click in the grey area to the left of each audio track and assign it to the relevent output channel. If you want to send a track to the stereo pair as well as to the mono tracks you will need to duplicate the track and then assign each of those to its desired output.
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Hypothetically speaking the best tower will be the new G.i.6, which is the new intel based mac with a 5ghz octal core processor. It will scream through your renders faster than a speeding bullet and leap tall buildings in a single bound. Oooops! there goes my job at Apple-:(
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Whatever you do, DO NOT upgrade until you finish the projects. Besides with that computer, if you upgrade the OS and to FCP studio version it will probably run slower than it is now. There was a post a while back where the user was having the same problem and as it turned out he was working on a timeline that had a lot of nested sequences copied and pasted from other projects. The fix was to export the sequences as self contained quicktime movies and import them into the current project. If you only have a couple of copied items, that may not be your problem.