[Jeremy Garchow]

what codec?

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

You should also think about RAIDs from different manufacturers such as Huge or Medea. Look into getting fibre channel as it’s fast and reliable and also scalable for future SAN applications. These types of manufacturers will get you more performance for less money than an Xserve. I personally have experience with Huge and their customer service is fantastic and their products work great.

https://www.hugesystems.com/

Medea:

https://www.medea.com/

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Thank you both for your help.

Jeremy

[Jeremy Garchow]

You can select the anamorphic column the in the browser (scroll to the right in your borwser), but you will have to replace any clips in the timeline.

you can also choose one of the non anamorphisized (I seem making up new language everyday) clips in the time line, put it in the viewer, click on the motion tab, twirl down the distort section, and change the aspect ratio to -33.3. Then Apple-c (copy) that clip in the timeline, select the clips that need fixing and hit option-v (paste attributes) and select the distort tick box and you’ll be good to go.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Export each clip to compressor and set up your settings for DV.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

YOu’ve upgraded to FCP 5.02? This was supposed to have taken care of batch capture problems..

[Jeremy Garchow]

All of that info from that article sounds good and really expensive (sounds like they are somehow using a D5 deck for the transfers), but how are you going to get your hands on that modified codec?

What I am about to tell you is pure speculation and has no actual truth or hard evidence to support these claims

I imagine there’ll be a way coming up soon with the HVX200 camera from Panasonic as it supposedly shoots 1080p24 (although it’ll be 1080i with an advanced pulldown added much like the DVX100 shoots in NTSC w/advanced pulldown). SO if this new camera supports 1080p24 then they will probably release a codec that will allow you to digitize (or in your case import) to DVCProHD 1080p24. Or you can work at 720p24 and reconform when an actual 1080p24 codec exists.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

I have been noticing some slowness if my sequences are set to “best” motion scaling, and there’s a bunch of motion control or pip or layers upon effects upon layers upon transitions and perhaps some massive still files in there as well. I render and everything returns to normal and actually seems quite speedier than fcp 4.5. Try turning your sequences to fastest (linear) and see if that improves performance (remember to turn back to best for a final render). Also, fastest is the way the FCP 4.5 handled it’s rendering so if your “work guys” liked the looks of 4.5 better than 5 then change to that option in your sequence settings. Remember that the new render settings apply to anything applied to the motion tab of clips, and not f/x or filters.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Yes, you will run into problems. Shooting 24pA is different than shooting 24pNormal. When you shoot 24p Advanced you will ingest into FCP and remove the 2:3:3:2 pulldown on the fly leaving you with 24p media and editing in a 23.98 fps sequence. Even though your capture preset is set for 29.97, your sequences will be 23.98. If you now add 29.97 material from your sony the footage will not only look different from the difference in frame rates between the cameras, but you will have to render the SOny footage as it is 29.97 and not 23.98.

TO remedy this situation you have a few options. One is to shoot 24pNormal on your DVX allowing you to edit in a 29.97 timeline with a 24p “film look”. With 24p Normal the 3:2 pulldown is left in and you edit on a normal NTSC timeline. Then again, your footage from the DVX and the VX2000 will still look different since one has a film look and one doesn’t.

Your other option is to convert your Sony footage to 24p using a plug-in such as one made by Graeme Nattress. His plug in allows you to take NTSC footage and convert to 24p in turn allowing you to edit that footage in a 23.98 timeline. This might be good for you since then the footage from the two cameras might look the most similar. DO some tests before you shoot the real thing. Graeme’s sight is found here: http://www.nattress.com Click on the standards conversion tab.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Go into your system preferences for dashboard and you can turn off the dashboard keyboard shortcuts to get your FCP functionality back.

I do notice some delay, but usually if I arrow back once and then forward it updates the display immediately and holds until I go to the next clip.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre