[Jason Mann]

Thanks for the replies, all.

—
Jason Mann
Compass Light, Inc.

[Jason Mann]

Thanks for the prompt response. I’ll try that technique and let you know how it goes.

And if anyone else has a bright idea, please chime in!

—
Jason Mann
Compass Light, Inc.

[Jason Mann]

I’m having this same issue. I’m on 6.0.4, and it is INFURIATING.

My entire stabilizing workflow is kinda nuts actually. I either take everything over to Motion, (where I can’t analyze all of the clips at once) and then export each as a separate media file and reimport to FCP (because Color can’t handle embedded motn files)
– OR –
I apply Smoothcam and analyze forever, then render forever, then export each clip as a self-contained file and re-import and replace the existing shots….. Ugh. Not an efficient way to work, but I haven’t been able to find a good alternative.

Anyone out there who has to do a lot of stabilization found a better way?

—
Jason Mann
Compass Light, Inc.

[Jason Mann]

I get bright green artifacts (usually big rectangles on one side of the frame) when I have embedded Motion clips in the timeline.

For example – if I send a clip to Motion to stabilize it, then render in FCP (in a ProResHQ, 1080p 23.98 timeline) I get green stuff. Every time. So I have to export a QT file from Motion and import that into FCP. It’s a pain.

Details:
10.5.3, FCS 2, 2×3.2Ghz Quad-core MacPro, Kona 3

—
Jason Mann
Compass Light, Inc.

[Jason Mann]

Whoa. Why didn’t I think of that?

Am I right in assuming FCP project files are better off on a separate drive from media? (I’ve always done it this way, but I forget why… or if I ever had a reason…)

—
Jason Mann
Compass Light, Inc.

[Jason Mann]

Did anyone ever figure this out? Seems like it ought to be possible to batch analyze in Motion. Otherwise, I’ll have to sit here all day clicking “analyze”.

That would be less than ideal.

—
Jason Mann
Compass Light, Inc.

[Jason Mann]

I’ll try that! Thank you!

—
Jason Mann
Compass Light, Inc.

[Jason Mann]

Thanks for the replies everyone.

I understand that Final Cut Server isn’t SAN software. I guess my question (never having used Interplay) is whether Final Cut Server’s organizational tools are powerful/desirable enough without the addition of a SAN.

(And yeah, I know that ultimately we have to decide that based on experience.)

One more tech question: If you were going to run FC Server without a SAN, what hardware would you choose? XServe? A Mac Pro? Then we’d need to attach some kind of storage to that as well. (We tend to have at least 15-20 hours of 1080p material online, sometimes more.)

Thanks again.

—
Jason Mann
Compass Light, Inc.

[Jason Mann]

Thanks guys.

David – “Use QT Timecode” is on. I have the actual timecode dropdown menu (that makes the timecode window appear) off.

Thanks again, I think I’ll call Aja.

—
Jason Mann
Compass Light, Inc.

[Jason Mann]

Sorry – I wasn’t clear before. The timecode burn using the Kona is working fine for me.

The timecode display I’m talking about is built into the JVC monitor itself. (It displays above the frame, in the letterbox area.) The monitor gets that timecode and audio levels via HD-SDI. (And that works fine with the HDCAM deck.)

I think it’s more a case of whether Final Cut actually sends that timecode out vie HD-SDI the way the deck does…

Any idea?
Thanks for the replies so far

—
Jason Mann
Compass Light, Inc.