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Fred Miller
December 4, 2009 at 8:50 pm in reply to: Quicktime 10 – no FCP timecode??

I think I read somewhere that eventually, many of the features that did not carry over will be added. But if you REALLY need that feature, use QT7.

FCP Studio 2
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Fred Miller
December 4, 2009 at 8:35 pm in reply to: Field Domiance

I agree. Whenever I’m questioning whether I’ve got a field issue I drop the shift fields filter on the clip.

FCP Studio 2
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5Gg RAM
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Fred Miller
July 2, 2009 at 2:34 pm in reply to: Apple Motion “save” doesn’t save

Yes, I noticed the same thing last night.
I do have a lot of layers. But I’ve never had that issue with After Effects (same or more layers).

It just seems like every time I try to use Motion for anything that is even somewhat complex, I spend more time trying to troubleshoot crashes and render issues, than actually being creative.

Once a year I sacrifice a project to Motion, and to this day I still can’t say that it’s a program I trust when the chips are down. Too bad, it would be slick if it actually worked like it’s supposed to.

Forgive me for venting. I’m sure all of my issues are because of bad RAM or corrupt preferences, or bad install, or not updating my permissions, or… 😉

FCP Studio 2
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Fred Miller
June 25, 2008 at 9:58 pm in reply to: Cannon , JVC, SONY, Panasonic HDV vanishing?

Gary,
Thanks again for all the advice. Please disregard my last response pertaining to the jitteryness of the 23.98 P2 footage. I have resolved the problem and it was as I suspected a “pilot” error.
😉

FCP Studio 2
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Fred Miller
June 25, 2008 at 8:37 pm in reply to: Cannon , JVC, SONY, Panasonic HDV vanishing?

Sorry for the HDV-P2 gaff.

When we brought the P2 files into FCP using the log and transfer tool – it was automatically made into 29.97 no matter what we tried. Upon searching the cow, I saw that some were suggesting using CT to conform P2 footage to 23.98. (Without the conform – the video was even more jittery)

I know the raw P2 clips are 23.98 – because the log and transfer tool reads them as “23.98pn” Is there a better (right) way to get these files (which we received on a hard drive) into FCP without using the log and transfer tool?

FCP Studio 2
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Fred Miller
June 25, 2008 at 7:50 pm in reply to: Cannon , JVC, SONY, Panasonic HDV vanishing?

Thanks for the info.

The fog is starting to lift…somewhat.

One last question. I have done much searching through the cow to find out what the best way is to deal with HDV (specifically P2 shot at 24PN) on a 23.97 timeline. Everything that I’ve read says that it should be fine. But even after I conform the footage with cinema tools, it still looks jittery compared to the CineAlta footage I have to mix it with. Any thoughts?

FCP Studio 2
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Fred Miller
June 25, 2008 at 3:22 pm in reply to: Cannon , JVC, SONY, Panasonic HDV vanishing?

When I go to a movie theatre, is it not projected 24p? My eyes seem to have no problem there.

If what you said is true, then why shoot at 24p? If you are going for aesthetics, wouldn’t you want to stay true to the frame rate?

Don’t get me wrong, I prefer the smooth motion of 29.97 over 23.98.

Recently we’ve been trying to move to a true 24p workflow (we’ve been shooting at 24p and adding pulldown upon ingest for quite sometime.) But now that we are completely capable of shooting, editing, and mastering at 24p it seems logical to just do everything 24p. Our monitors accept a 23.98 signal. We’ve done a couple projects this way. The biggest hurdles we had were when HDV shot by a third party suddenly had to be incorporated into our workflow. We thought it would be easy becuase it too was shot at 24p. But that was when we discovered the whole (29.97 wrapper thing)

My background is strictly video, so when I started working for a company that shoots primarily HDCAM at 24p and edits and masters at 29.97. My theory has always been, “if you’re doing video, stick to a video format and workflow.” I asked everybody why this workflow was adopted when it seems to cause more problems than solutions. Now after a couple 24p projects, I’m not sure if anything was gained by doing it that way, because we can’t control what we’re sourcing 100%. For reasons beyond my control we cannot shoot at 29.97.

So when you say 1080 is ALWAYS monitored at 48fps I wonder in what context you mean. Are you saying that video shot at 24p what never MEANT to be viewed at 24p? I’m not being snippy, just trying to figure out if maybe I’ve led my whole team astray down workflow that will never work.

Sorry this has become totally off topic of the thread.

FCP Studio 2
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Fred Miller
June 25, 2008 at 2:23 pm in reply to: what’s the deal with free coremelt plugins?

thanks

FCP Studio 2
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Fred Miller
June 25, 2008 at 2:22 pm in reply to: Cannon , JVC, SONY, Panasonic HDV vanishing?

I really don’t like the fact that HDV cameras are marketed as shooting 24p. But in reality it’s “wrapped a in 29.97 container.” What a confusing pain in the… I still don’t get it. No matter how many times I read it. And it adds just another layer of complexity to the workflow.

FCP Studio 2
Dual 3Gg Quad Core
5Gg RAM
KONA 2
OS 10.4.11
Fred Miller
June 18, 2008 at 1:42 pm in reply to: same destination applied to multiple clips, how?

Highlight the clips in the batch window. Right Click on the destination of one and make your selection.

that should do the trick.

FCP Studio 2
Dual 3Gg Quad Core
5Gg RAM
KONA 2
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