Jeremy Garchow
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It’s either pay $30 for thew new QT7Pro License or pay for the upgrade to FCP5. QT7 is considerably cheaper.
Jeremy
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A list of supported formats from the panasonic HVX200 webpage:
1080/60i, 1080/24p, 1080/30p, 720/60p, 720/24p, 720/30p, 480/60i, 480/24p, 480/30
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Not if the footage has an embedded alpha channel. Graphics created in & rendered out of after effects and other compositing apps using the animation codec with millions plus will have an alpha channel. Most stock footage houses these days include a matte if you intend to superimpose their footage. This might be becuase not all NLE’s & compositing apps do not accept alpha channels, but this is just a guess.
If you have a scene shot on green, use AE to key the green and render out the key with an alpha channel (animation, millions+) you will not need to render a separate matte for use in FCP.
Cheers
Jeremy
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Does the footage come with a matte? If so, in FCP put the clip in v3, put the matte in v2 and the background in v1. Set your composite mode of the clip in v3 to travel matte luma. Set the composite mode by control clicking the clip. Render and you are good to go.
Jeremy
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I feel like I should chime in on this thread as a contributor to this forum. Please let me preface by saying that I do not mean to start a forum war and I am not trying to be difficult. I don’t have as much experience as Bob, Ramona, and Marco and you should respect their comments highly, but I do have something to say about my SATA experience. It really depends on how much time you want to devote to down time and fixing what’s wrong. Read into Bob’s post about the non mounting drives, now imagine that you are under a tight deadline and the client is sitting their looking at their watch thinking “am I paying for this time?” while you figure out which of the eight ports is not quite seated, and restarts, and try-agains, and all you need to do is output your beautifully finished 30 second spot out to tape and get it to distribution or fedex in an hour. Don’t get me wrong, SATA performance is totally surprising and I think one day in the not so distant future, SATA raids will be the ‘it’ storage solution. If you don’t mind some weirdness and supporting your own hardware with no one to call, I say go for it. you can’t match the price/performance. I had a 4 disk SATA RAID with a HighPoint rocketraid card (it was before sonnet had even the 4+4 let alone the eSATA) and I had all sorts of problems that almost kicked my ass into not working for this particular group of folks again. I had two rocketraid cards melt on me and their support was awful. it took almost a month to get a new card to replace the first faulty card. Much to my chagrin, I had to buy another one in the meantime and that one ended up going bad as well. I finally got the replacement and decided that I was going to look into an external RAID that was built professionally and also professionally supported because I was fed up. I got a small 5 disk 4Gb fibre raid and have not looked back. It works great, handles 720p UC HD in RAID 3 and is totally expandable into future systems. That being said, maybe Sonnet’s support is much better than HighPoint’s and perhaps their SATA cards work much better. I don’t know what kind of in house engineering support you have, but I am an owner operator and I have myself to take care of my machines. Buying a prebuilt, pretested RAID has been a great move for me. It hurt a little more up front in the pocketbook, but has saved me soooo much time and stress, and as you know time is money. Also, I have the comfort of knowing that if something goes wrong I make a phone call and can have a brand new shiny RAID or a replacement drive in the morning if something catastrophic happens.
Please take this for what it’s worth as my story is probably unique. Many people have great experiences with SATA Raids.
Whichever route you choose, I hope it brings success.
Jeremy
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[julier] “If the footage was shot at 24p normal, what are the consequences capturing and editing it at 29.97 via fire wire?”
Nothing really. you are just confined to the DV50 codec for you edit and graphics. In most cases this codec will work just fine.
[julier] Is it possible? will it still have that 24 p look? will it be fine later on, encoding a dvd?
“It’ll have to 24p look with a 3:2 pulldown. It will look really good. You will be fine encoding to DVD. It’ll be just like making a regular 29.97 DVD, no difference at all.
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Well, it would work, but how are you going to capture your media? In order to capture uncompressed video (which is the reason you need to io) you need relatively fast drives, such as a raided firewire 800 disk from lacie or medea. Once you plug in the io ld into your g5 imac, all of your firewire bandwidth is taken up and the g5 has no way to expand. You are better off using a powerbook as you can put another firewire bus in there with a cardbus card. AJA has a few words to say about this configuration and you can read about it here:
https://www.aja.com/support_Io.html#faq
Jeremy
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Sure, there’s the Emmy’s, The Academy Awards, The Clio’s, Golden Globes, and don’t forget MTV viewer’s choice. They have an editing category for those don’t they? SOrry to be a wise ass, must be something in the air today. In all honesty I saw this same spot you speak of and thought it was hilarious. It looks like more an exercise in editing for film school to me.
Jeremy
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Hey Hal, I think this was a huge feature request that did NOT make it into FCP 5. This and keeping the project settings so that when the project opens up you don’t have to reset your easy set up (if you’re bouncing from an HD to a DV project let’s say). There has to be a good reason that apple doesn’t do this, but I don’t know it.
For now you are stuck with changing the prefs every time you switch scratch disks.
Jeremy
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G5 Dual 2Ghz <> 4GB RAM <> FCP 5.02 <> Kona 2ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre
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Thank you both kindly for the totally awesome and completely helpful answers. Long live the color picker and the real time updating h/s filter.
Cheers
Jeremy