Jerry Hofmann
Forum Replies Created
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If the clips were captured originally with the audio as single files, you should be able to simply move your playhead in the timeline to a clip, perform a match frame, which should include the sound sync audio tracks, then a replace edit which includes the audio… Probably the fastest way to do this. That way you don’t have to sit any particular place in the sequence clip, and the “replace” edit function will frame for frame keep the original video cut.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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If you have an IT person who can help? There’s probably some sort of limitation that “might” be changed on the network side? i.e, maybe there’s a limit on file size that could be lifted on the drive system you are saving to?
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Well, at least you have a workaround…
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Got corruption showing up sounds like. the Error 34 message usually points to a bad media file and most often a bad render file… might trash those renders and re render… If this fails, you probably have a bad media file, and the way to find it is to take your media and put it in a folder other than where it is, and then reconnect a few clips at a time until the culprit shows up. Then trash and recapture it.
If it were me though, I’d be copying the clips and sequences to a new project file so you can save it first.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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Just connect your DV camera or deck to the iMac, then use firewire as the external video monitoring path. Then take the analog outs from your deck/camera to a monitor. Or you can use an advc-110 from Canopus and monitor DV externally that way.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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It’s also useful if you want to select more than one clip for marking… there’s no limit to the number of clips you can select.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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So if you export to the local hard drive, you get an OK file… what happens then when you copy this file to the network drive?
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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I stand corrected alright, the manual says nada about it.
But apparently it’s changing the field order and moving a field later or earlier. That would explain why it jitters in slow mo.. I’d simply remove this if there’s no jitter in playback of an imported animation, and it shouldn’t be in a still image at all wouldn’t think.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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There is a setting in the scratch disk setting to turn off… it limits the file sizes of exports to 2 gigs…
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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There isn’t a “Shift Fields” filter in FCP, so must be something you are adding to a clip before you import it (from where BTW?). When you double click a clip, you see this filter in the filters tab? What are it’s parameters?
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D