[Jason Porthouse]

I do this regularly when I come across edits for material acquired on DV. My workflow is similar to Michaels…

Cut your programme in DV PAL Anamorphic timeline as you have done. Then, create a new timeline. Load an easy setup (accessed in Sequence Settings) for ProRes PAL anamorphic – should be 720×576, Upper Field First, and make sure the Anamorphic checkbox is ticked. You can then cut and paste your edit from the DV timeline into the Pro Res one. This should ensure that the Shift Fields filter is applied, and the geometry of each shot should be the same.

Don’t go down the route of altering sequence size – your making it 1024×576 is a fudge that will lead to problems later – it’s a non-standard size that will probably lead to playback issues.

HTH

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]

‘Oh sigh my little heart, we are at a wake, on a forum, with no booze.’

That’s one of the best lines I’ve ever read on this forum. Glad you’re still ranty, It fair warms my heart.

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]

Ahh, good on you. Shame you didn’t hear the rest of the conversation…

Al Gore: Final Cut Pro? What the **** is Final Cut Pro?

Aide: It’s a piece of editing software sir. You know, for films and stuff – like your documentary…

Al Gore: What the **** has it got to do with me? Get security down here now. Only thing worse than ****ing tree huggers are computer nerds. Now where’s my latte?

or something like that.

_________________________________

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]

[Rob Fourchalk] “Think I’ll have problems as you suggested?”

Dunno Rob, try it and see. I doubt it will do anything nasty – you just never know. If it does seem to be problematic, buy another drive and relegate the internal one to external backup duties… you’ll need this anyway!!

All the best

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]

Hi Rob,

Sorry for the tardiness of my reply, spent Easter working in a field with lots of horses and little internet.

Yes, the drives absolutely need to be the same capacity, and ideally the same brand – but the last isn’t a deal breaker as long as they’re all the same spec (ie 7200rpm, X amount of cache). Deviation from this MAY incur problems and erratic behaviour…

If you can’t get them to match – consider 3 new drives, and relegate your old one to backup purposes. Worth the extra hundred or so bucks for peace of mind…

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 have 3 of the 4 internal bays in my Mac Pro RAIDed as Raid 0 for speed. Plenty fast for 90% of my needs.

I then backup media to bare drives, bought cheaply and attached using one of the caddies you can buy – mine is USB2 but there are Firewire 800 and SATA versions. But as it’s an overnight thing, it’s no biggie for me. The bare drives then get put back in their antistat wrappers and stored, remembering to spin them up and run a check every couple of months or so. FCP projects get backed up to thumb drives as well as another attached drive, so 3 copies in all.

I can be un and running reasonably quickly – not as good as RAID 5 but cheaper. For the work I do it suits me fine.

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]

Interesting take on it Walter. I’m surprised by your assumption that X won’t handle a large project – the thought that Apple seems to have given to metada seems to contradict that to me. We’re moving into a world where metadata is all important, and they seem to have nailed a lot of the issues.

As to cutting 200 hours of material – hell, I’d love to have filmstrip view of clips on the docs I’ve worked on!! How many hours spent shuttling through material to find shots – I think this will speed stiff up immesurably. Couple this with keywording and the way this will let you organise material I can see this being a real boon for docs.

From what I’ve seen this will potentially be a real sea-change in the way we tell stories. I’d be happy to see third-party tools for tape ingest (especially if it can run in the background) and even output, though I think omission of this unlikely.

But all this is conjecture – roll on June is my feeling!

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 agree David, the more I see the more I like it. I’ve always liked working in the timeline in a very organic way – my Fast 601/Silver had this functionality (though nowhere near as comprehensive) and I loved it – it ran rings around Avid and FCP at the time. This is like that on steroids. I for one am VERY exited about this, and I reckon we’ll all be wondering how the hell we put up with those old fashioned timelines in a year or so.

I’ll definitely be an ‘early adopter’!

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’m with the optimists on this one. From what I’ve seen the interface will radically ease some of the grind of programme making – as a largely documentary editor the keyframe view (of source material) and keyword ability will be enough for me alone. It’s nice that they’ve gotten round to background rendering (my Fast Silver had it 8 years ago, but that was a hardware based system) and I’m truly looking forward to seeing what else it will do. $299 seems a fair price point when you take into account all the other suite series, remember this is just FCP so when Motion, Color et al (in whatever guise they are replaced) come along it may not seem so cheap.

A lot has been mentioned about the ‘one screen’ interface – do we know this is a limitation, or is it just for the convenience of the demo? Ditto with the lack of a viewer, but I’ve worked ‘Murch’ style with only one canvas window occasionally and it’s never been an issue – it forces you to look at whatever monitor you have rather than the viewer/canvas combo. It seems the one viewer in the new interface switches automatically anyway – I think this is one of those ‘wont miss the old way after a day’ type UI developments.

At the end of the day, our job is about telling stories. If this tool helps me do it quicker, better and with less stress thats a good thing in my book. Roll on June…

_________________________________

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]

This is gonna be like the digital equivalent of choosing a new Pope. Across the world, people will be waiting with baited breath for that tweet equivalent of white smoke….

_________________________________

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*