Jamie Pickell
Forum Replies Created
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Thank you Nevin for your reply. I just tested what you said… AWESOME! I was envisioning a headache beyond the one I’m already going to have. Thank you!
Jamie Pickell
Adobe CS 6
Mac Pro
2×2.4GHz Quad-Core Intel Xeon
16GB RAM
10.6.8 -
You can contact Apple directly and purchase FCP Studio 3, but you will pay full freight – $1,000. I just started a gig at another shop and the computer they set me with did not have FCP and they didn’t have any extra copies. They called Apple and were able to make the purchase. Good Luck!
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I highly recommend that you DO NOT DELETE your clips. My experience with stock footage is that the low-rez versions have garbage timecode and the high-rez either have the timecode that was burned into the low rez version or a different timecode altogether. Also, the lengths of the full-rez versions could be different than the low-rez, throwing another monkey wrench into the system. My recommendation is that you duplicate your timeline, import your high-rez versions and and then either find the timecode in the high-rez version that matches the low-rez version burned in timecode, or eye match your shots. I know it’s a PITA, but you’ll be really angry if you discover that re-linking doesn’t get you the shots exactly as you cut them.
Cheers,
Jamie -
Ben, thanks for your reply. You’re preaching to the choir regarding ProRes HQ 🙂 The only problem is when the audience refuses to listen to said choir. I sometimes receive ProRes HQ files without any input on my part, so I just need to be able to work with what I’m given. Right now I use an Expresscard with eSATA to get the necessary throughput.
I also appreciate your comments on the Expresscard not having Thunderbolt. It saves me time from looking and hoping that option becomes available.
Cheers,
Jamie -
Thanks Shane. I’m really leaning towards the Matrox product line for that very reason and your continued recommendation of their products in other posts has me seriously considering them.
Jamie
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Steve,
Thanks for the reply and the recommendation of the G-Tech Raid. I was hoping to avoid being dependent on Firewire 800 for my media connection. Do you experience dropped frames or playback problems when using ProRes HQ or multi-cam edits?
Jamie
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Another idea regarding your multiple clips is what I do when I have footage shot on cards. I take all the clips from a particular card and drop them into a new sequence naming the sequence to match the card. You can then load the sequence into the viewer to scrub through and find your shots the same way you do a clip. Then when you edit a shot in, use Command F9 for insert and Command F10 for overwrite and this will put the original clip rather than the sequence into your timeline. One thing to be aware of is that you need to mark the IN and OUT out on the Sequence in the viewer if you’re doing 3point editing. FCP has a bug that if you only mark an IN or OUT on the sequence in the viewer it will proceed to lay the entire clip onto the timeline.
If you use markers on your clips, you can add markers in the sequence as well. The downside is that unlike the clips in your bin that you can twirl down to see all the markers, you can’t do the same to a sequence with markers. The work around to that is to get a copy of Digital Heaven’s Final Print. It will open an XML of your sequence showing all your markers and frame grabs and let you print it out. You can download it and it will print the first 5 clips for the demo version. I used this on my last job and worked like a charm in helping to locate shots and my markers. The show I cut was over 80 hours of footage all shot on EX1, Canon D5s, D7s and GoPros, nothing was shot on tape so I had thousands of little clips to wade through. Loading them into sequences for each card worked well and using Digital Heaven’s Final Print to print out my markers really helped.
Cheers,
Jamie Pickell -
It should work with a reference file. If you need a different watermark for different DVD deliverables, just add another DVD compression setting to the reference file in Compressor and check the watermark tab and this time point it to a different watermark element. It should work fine for you.
Cheers,
Jamie -
You can do it in Compressor. Kick out the Quicktime file from FCP, then take that file into Compressor. Apply your DVD settings for compression. Double-click the video compression setting and under the filters tab, check the box next to watermark. Create a graphic or text element in a graphic program (it can have an alpha channel if you need it) and set that as the watermark. Use the preview screen to position the watermark where you want it and to set size and opacity. Then let Compressor do it’s magic. This also allows you to use different watermarks for different deliverables and doesn’t tie up FCP.
Hope that helps.
Jamie -
I use a free script from Popcorn Island that you drop in your AE scripts folder. You can find it here:
https://www.popcornisland.com/2009/03/final-cut-2-after-effects/
I drop the shots I want to send to FCP on a new timeline, export an XML and then run the script in AE to interpret the XML into an AE timeline. This allows you to see the original media so you have handles. Once I do my graphics work, I export a QT in the matching codec of my FCP timeline and drop it on a layer above the shots I sent to AE. This way I always know which shots I sent to AE and it helps the poor AP or AE who has to create an Annotated EDL or Shot Sheet. If I have to make revisions, I just export a new QT from AE and replace the one on my FCP timeline. I always keep my various exports and AE timelines.Hope that helps.