Jeff Walker
Forum Replies Created
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Still having the problem so I should better explain. I’m working in an HD timeline at 1440 by 1080. I received my layered photoshop files at 1920 x 1080. When I pull them into FCP it was extremely wide and didn’t fill the screen on the top and bottom. Someone suggested using remove attributes which I tried and it helped, fitting the the image to properly fit the screen but I have the problem of circles becoming ovals.
How should I direct the photoshop artist to alter these images so they will appear properly in my 1440 x 1080 timeline?
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Thanks for the reply.
I’m finding my images stretched in FCP due to square pixels. Wouldn’t changing to non square in photoshop solve my problem? Perhaps convert was the wrong word?
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Thanks again Jeremy
Yes this problem seems to be a new bug to FCP in 5.1.2. Firewire NTSC setting works fine if you insert the tape and play it a bit through FCP so it may autodetect for DF vs. NDF. If you run the tape a bit this way it defaults to whichever the tape was recorded at. Thats not too much trouble I suppose assuming you have the tapes.
Apparently the PD-150 the client shot with was set for NDF which was a surprise to me as I wasn’t aware the PD-150 could shoot NDF.
Since I was entering data off logs rather than actually cuing the tape it didn’t seem to know which to go with. Once I ran a tape in the deck throgh FCP BEFORE logging it worked fine. I’ve never had this issue in previous versions of FCP. Am I the only one??
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Thanks for the speedy response!
I may be a bit confused. I shot in drop frame and my timeline is drop frame. Wouldn’t I want to acquire it drop frame? Isn’t drop frame standard for most all 29.97 DV timelines? What is happening is its logging it as NDF but I want DF. When I enter the logging info it just seems to want to default to NDF. When I try and aquire my footage I get a warning to the effect of “You’re trying to acquire NDF for a DF clip. This may lead to problems… blah blah..”
I’m aware I can go Modify –> Timecode and switch the clips to DF before I acquire them but its a silly, tedious process. Is a master clip inherently DF or NDF BEFORE acquisition? Does it harm anything to switch it from NDF to FD after acquisition?
Also if I use NDF footage in a DF timeline am I going to run into problems? Frustrating for me as I’ve never had this issue before.
Thanks for any advice!
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When you upgrade to QT 7 you lose your QT Pro registration. QT Pro is needed for FCP to work properly. You may need to upgrade back to QuickTime Pro. If you don’t have a QT Pro 7 license you can buy one from apple.
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Really depends on what machine you’re using. A 450MHZ power mac isn’t going to be nearly as fast as a 2GHZ G5 Dual Processor. What are you using?
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It’s not the size of the pen but how you sign your name!
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It is hard to compare FCP to Avid in the sense that Avid has multiple editing aps in its lineup. FCP is scaleable. The little guy doing DV can use it as well as the big guy using HD. FCP is basically all things to all people. I don’t think its accurate to say that Avid is the industry standard anymore though there is no doubt they maintain a very strong grasp of the high end market, especially features. This being said FCP has made a lot of progress in the last few years in gaining the respect of high end editors and producers. FCP cuts a very high percentage of movie trailers out there. FCP cuts more and more television (and no, not just Scrubs.) Many a music video is being cut on FCP as well as commercials.
With FCP 5 Apple has shown they are very serious about gaining more marketshare. One of the limitation in the past for FCP has been its lack of good asset management on large, multi edit station productions. Now with Xsan and Xgrid (and a some 3rd party solutions too) the guys working on features can’t complain that there’s no Unity Server like asset management.
I can’t imagine why you’d stick it out from FCP 1.2 to now just to switch to avid when things are getting so good for FCP. If you ask me Avid has splintered their own market, made unclear upgrade paths and has really played catch up to FCP in many ways. It also costs 2-3 times more to put together a high end Avid system than FCP. And just when you get that Avid system all together god forbid you need to upgrade. It will cost you dearly. I’m much more of a fan of Apple’s more open approach than avid’s proprietary system. Plus I just plain like FCP better. I can’t imagine going back.
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Chip wrote: “ahh but there is a way and I have done it! but now that I upgraded to 5 I lost it. It was something in the prefs like speaker off or something.”
Please share with everyone how you did it. There are many still using FCP 4.5 and below that would love to make use of your work around. In my experience you are mistaken as there is no setting anywhere in FCP for audio meters on capture. I’ve even discussed it with members of the FCP team from Apple at NAB who acknowledge it’s never worked. Perhaps you discovered a secret no one else has stumbled on. I’d love to have meters on captue!
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There is no setting to remind you of. The audio meters have never worked on capture and continue not to work on capture in FCP 5. Now that we finally have milticam you can be sure this will make the top of the most requested features list.