[Jason Porthouse]

Ditto on the file format – I got ‘codec not supported’ errors and after many hours of ‘wtf’ hair pulling, discovered I’d accidentally created a matte in CMYK as opposed to RGB. Replaced and all was well.

I’d echo the RAM thing too; the maxim ‘less is more’ is often true with FCP. My system with 8 gigs is rock solid.

Jason

_________________________________

Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Jason Porthouse]

I’ve had similar problems on a client’s machine – seemed like the AJA LHi suddenly didn’t like gaps in the timeline – it would throw everything out of whack. Now this is the first time I’ve encountered that, and the suggestion at the time was to fill gaps with slug – could a 1-frame gap (easy to get) be causing this?

Jason

_________________________________

Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Jason Porthouse]

I’ve often wondered about this, and come to the conclusion that for the type of work I do, the hit I take on occasional looonnnng renders isn’t worth the cost of upgrading – I’ve a similar quad Xeon machine and it’s still plenty quick enough. A Tangent Wave would be more of a productivity upgrade for me, for instance. I think it’s all too easy to chase the numbers on computer speeds – I have a client who cuts on a dual G5 still, and it doesn’t hold us up at all.

Jason

_________________________________

Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Jason Porthouse]

Jeremy,

the problem is Compressor won’t even see the files. When I play wrapped files in QT (from clipwrap, either transcoded or wrapped) they exhibit an odd frame effect – not bad interlacing, but a kind of ‘one-forward one-back effect, where each subsequent frame steps back, then forward. It’s very odd, and not something I’ve seen before.

Anyway, it’s proving to be a right royal PITA!!

Jason

_________________________________

Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Jason Porthouse]

I’ve the same problem – a bunch of .m2ts files send on a DVD. No proper file structure hence L&T wont see it.

I’ve tried ClipWrap, which at least lets me see them in FCP, but can’t seem to get over a field order problem – basically looks like it’s playing the wrong field order, but no amount of playing with shift fields seems to cure it.

Any suggestions would be most appreciated!!

Jason

_________________________________

Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Jason Porthouse]

Thanks chaps. I’ll try the new firmware and drivers when I get a chance…

Forgot to say it is a prores TL. I try and avoid XDCam like the plague.

As to the sync loss on black though – seriously, do AJA expect us to fill in every gap in the TL with slug? Not a satisfactory solution IMHO – kinda makes it a ‘linear’ NLE dont it? Is this an FCP thing or a bug with Kona? My BM eclipse is perfectly happy with black in the TL.

Jason

_________________________________

Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Jason Porthouse]

Why use a separate device? Why not use the audio outs on the MXO? Seems odd to me, using a different box to monitor audio. is there any reason why you can’t use the audio outs of the MXO?

I’ve often used separate audio devices for input (many suites have USB boxes for connecting VO mics, for instance) but never on the output – takes me back to the bad old days of Avids with separate audio/video cards *shudder*

Jason

_________________________________

Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Jason Porthouse]

Wot Zane said, in triplicate, with bells on.

When you get into storing 2 terabytes, unless you REALLY love redigitising, buy 2 and backup. Make sure you kick the backup into life (plug it in and spin it up) every few months.

Jason

_________________________________

Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Jason Porthouse]

Don’t use noise cancelling if it’s a random noise environment, you’ll go nuts.

Get yourself a pair of old-skool Beyer DT100s like most sound recordists use; they cover your ears completely and clap to your head pretty well, cutting out a lot of ambient noise. I use them in noisy environs if I’m editing on site and whilst not ideal they’re better than anything else.

Jason

_________________________________

Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Jason Porthouse]

Uhhh… there’s an effect? Where? Must’ve been distracted.

Serious Q though – I’m surprised this would pass the Harding test (photosentitive epilepsy) but I guess if the luminance values don’t change much and the position of the centre of attention isn’t changing, you might get away with it?

Jason

_________________________________

Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*