[Herb Sevush]

Walter –

n my case, an Undo History would be about 100 on my list of 100 things I want to see improved with Final Cut Pro. Yes it’s something that would be nice, but there are so many other areas I would like to see improved first before something like that.

I totally agree with you, and I like your list. I can think of many things (although definitely not 100 things) more important than an Undo History – which doesn’t mean that it isn’t desirable and shouldn’t be implemented if possible.

Give me improvements over system performance and image quality first, then we can deal with little things like “undo history.”

This shows how variable are the needs of editors working with Final Cut. I almost never do chroma keys and never spin boxes, my “most wanted” list is strongest in the digitizing, media managing, and editing productivity area, so the Undo History request would be higher on my list than yours.

What I objected to is the tone of many of the earlier posts that suggest that since there are ways around the problem then it’s a ridiculous request. It isn’t, it’s a programming weakness of Final Cut that they can’t do this. It’s not life threatening, not the biggest problem, not a deal breaker – but that doesn’t mean that it’s a foolish idea.

Herb Sevush
Zebra Productions

[Herb Sevush]

David –

This is just another case of Final Cut Pro insecurity leading to a false defensiveness. It’s amazing how normally reasonable and intelligent people can be in such total denial – it’s like dealing with a child – “honey, criticism doesn’t mean we don’t love you, we’re just trying to help you so you can be better.”

Yes, you can find ways to work without an Undo History, you can also do great work without a computer, without video, with only one eye and missing a left thumb – but why would you want to?

My first staff job in NY was for a small industrial company. They owned two upright moviolas and the senior editor, Nat Sherman (a great guy and great editor) had never worked on a flatbed. I had learned to edit on a flatbed and used to tell him all the advantages of working that way. Nat always came up with weird justifications for sticking with the old uprights. A big project came up and the director insisted on working with a Steinbeck. We had it delivered and Nat came in over the weekend to get used to it. When the project was finished Nat made the owner buy a flatbed and I had to use the uprights until we bought a second flatbed. Nat refused to ever use an upright again.

There must be a programming reason why Apple hasn’t put in an Undo History feature, it’s been asked for over and over and it’s no secret that many people want it and the rest would love it if they got it. There are many strange quirks in all editing applications, and part of being a professional editor is learning to effectively work around them, but claiming that the quirks are a positive feature is just ridiculous.

Herb Sevush
Zebra Productions

[Herb Sevush]

Aaron –

IMO –

Lawyers cost money and so far you have done nothing wrong. In this case I would keep telling the truth and save the legal fees. Since you’re not going to lie, then you have no cause to ask for more money. If they fire you, then that’s a good case for not working for them.

Herb Sevush
Zebra Productions

[Herb Sevush]

Auxilary timecode is just that, alternate timecode that can used by multi-cam to sync clips. To activate it highlight a clip, hit Modify / Timecode and you’ll see where you can change the actual timecode of a clip or else enter up to 2 different Aux timecodes. This works very well for syncing clips with different timecodes.

Herb Sevush
Zebra Productions

[Herb Sevush]

Grady –

If the lack of sync was caused by jumps in the source material or timecode it can be rectified within Final Cut. You can replace timecode or use the Aux Time Code channels. As long as you can place the clips, even with cuts, on different tracks of the same timeline and maintain syc you can make it work.

However what you are describing means that the clips are playing at different relative speeds (this has nothing to do with the time code but rather with the clips time base) and will require, at best, re-importing some of the clips. At worst it might indicate corruption in the clip itself. Fixing this can get very complicated.

Herb Sevush
Zebra Productions

[Herb Sevush]

James –

If your only off by 1 or 2 frames using firewire count yourself lucky. I had a 1200 that was off by 12. I got it down to +/- 1 by creating a capture pre-set, but it was never frame accurate. My 1400 is much better, but if you need frame accurate then you need to go SDI.

Herb Sevush
Zebra Productions

[Herb Sevush]

Grady –

Are you saying that

1) the clips jump out of sync at specific points.

or

2) when played against each other they start in sync and then they slowly drift apart.

If it’s #1 there are many work arounds. If it’s #2 then you have real problems.

Herb Sevush
Zebra Productions

[Herb Sevush]

Maurice and Bob –

Thanks for the help. I’ve been in touch with Balckmagic and have sent them back the converter. Looks like I’ve got a lemon.

Herb

Herb Sevush
Zebra Productions

[Herb Sevush]

Tim –

I know there’s a lot of interest and excitement about the possibilities of 3D, but for me there is a simple equation that goes like this:

HD = Stereo
3D = Quadrophonic Sound

The fact that the “nay sayers” were wrong about HD does not mean they are wrong about 3D. The advantages of 3D, like Quadrophonic sound, are real, but not great enough to make up for the inconvenience of the gear required to obtain it.

Even now with the spread of 5.1 home theatre sound systems, most people can’t be bothered wiring their rooms for surround speakers.

While I agree with ESPN that their audience and their product is ideal for 3D, I am skeptical of the idea that a large number of couch sitting, beer drinking fans are gonna sit still for the glasses. If the glasses could also help them figure out the spread, then you’d have a winner.

On the other hand, I’ve been wrong before.

Herb Sevush
Zebra Productions

[Herb Sevush]

Bob –

I got the mini converter for the Betacam deck. However I was already digitizing some DV50 material with the SD93 and since it has component outs I figured I’d test the mini converter when I ran into the levels problems.

I’ll test it out on the Betacam, all switches set to ON which is how it came out of the box.

Thanks.

Herb

Herb Sevush
Zebra Productions