[Jeff Greenberg]

I believe it’s called the “thumbnail” of the clip/sequence.

This is a SWAG (Silly Wild Ass Guess) but in Compressor there’s a slider underneath a QuickTime clip (but I don’t think it does anything with the direct FCP/Send to Compressor) – I think if you change the frame there, it may update the thumbnail.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
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[Jeff Greenberg]

You could drill down in the finder and just trash those files – and worry about the icons in FCPX later…?

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[Jeff Greenberg]

I’m assuming that if you’re going to use 720×480, that you’re exporting SD, meant for a video playback – and likely we’re talking widescreen NTSC. Use Adobe Media Encoder (which is what happens when you press export Media); choose MPEG2 – DVD and then choose NTSC Widescrreen high quality.

If I’m wrong in that assumption (you’re doing a DVD) let me know – the choice of 720×480 may be incorrect if you’re intending web playback/computer playback.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[Jeff Greenberg]

When you start your project, Premiere Pro asks where you’d like to store your *captured* material – not imported/linked (all file based cameras are linked. The default for the capture is wherever you locate the project. Switch projects, you just switched where new captures will reside.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[Jeff Greenberg]

How about nesting the lower third and solid back into it’s own sequence (opt-c) then fading that up/down?

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[Jeff Greenberg]

Does the laptop meet these specifications? And more important is it ‘qualified’ (PDF of qualified Avid windows systems.)

When you operate outside of Avid’s qualified systems, you want to nail the specs, down to the motherboard type, if possible – because you don’t want to buy all of it and have it not work.

I know loads of editors who use their laptop as their primary station. If you’re choosing this because you will edit remotely, great. If you’re choosing this so you have the flexibility to edit at the beach….you’ll never edit at the beach. It’s better to get a beefy (cheaper) desktop and buy a netbook for portable computing.

You’ll always be limited to the stock video card and interfaces; if I were spec’ing out a windows machine, I’d really like USB 3.0 as well as an esata.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[Jeff Greenberg]

There are no advantages, no. We generally have media external to our OS/Application drive to have less stress on the pipeline in general – and just in case you accidentally fill up your internal drive. It’s such a common mistake that Avid has s Media Setting to help you not make that mistake.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[Jeff Greenberg]

You didn’t ‘hit the mark’ with the settings in MPEG Streamclip. It has to be a DNxHD codec for HD and an Avid meridian codec for SD. You need to nail the sizing of the clips; If you get the settings right in MPEG Streamclip, they’ll fast import. If not, the avid senses it has to recompress. FWIW, you could just use the clips via AMA (if they’re clips and not a DVD)

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[Jeff Greenberg]

If it’s grey, it indicates (usually) a mismatch for your sample rate. In your Audio settings there’s a switch to show you audio that is mismatched. Either convert the audio or turn off the grey colorization.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[Jeff Greenberg]

Currently speaking according to this Avid document you don’t need the 3.4 ghz processor, but it’s a good idea.

Memory: the minimum is 4. I’d suggest 8…and the current models can do 16 (for today, eh, for tomorrow, yeah!)
Make sure you’re getting the Radeon Graphic card (although it doesn’t look like you get a choice beyond 1gb or 2gb on the card.)
The stock drive is 7200 RPM – you could use it in a pinch. Make sure your external drives are that speed.

The biggest suggestion I have for you? Is a hardware RAID 5 from someone like Gtech – to protect all that media you’re editing.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website