John Christie
Forum Replies Created
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How about if you zip them first? I’ve used that to get around services trying to re-encode my video for me.
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Thanks for the follow up Mark.
Our shop of 16 edit suites will switch from FCP to Avid in the not to distant future. We work with a lot of freelancers who speak both FCP and Avid. None of them show an interest in learning X for long format editing.
Symphony for $999 gives us an amazing opportunity to upgrade all our suites.
We’ll keep our eyes on Premiere Pro as we continue to use Adobe CS for After Effects and Photoshop.
I had a grudge with Apple last year when all this started to unravel. But time heals all wounds and as Mark says – It’s not personal, It’s business
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People often confuse frame rate with drop frame, assuming that 23.98 is drop frame and 24 is non drop frame. FCP doesn’t provide 23.98 drop frame as a time code option. This isn’t an issue unless you’re formatting your shows for broadcast.
I once heard someone at a user group meeting say that he never shot drop frame because the pictures looked “stuttery” from all the dropped frames 🙂
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Good question. At work we run MacPros, mostly the 3 to 4 year old dual processor 4 core machines, connected to Xsan via fibrechannel. So we need CPUs with 2 ethernet connections, FC card and either a Blackmagic or Aja card.
At home I run a 2011 iMac 27 with 2 X 3 GHZ CPU, SSD boot drive, and a Promise 6 drive raid. The system is incredibly fast and does everything I need it to.
So my choice down the road will be:
1) Update the work machines with New MacPros, if they are compatible with all of our legacy i/o cards. I’d need to know that these machines could run FCP7 as well as Avid
2) Update to iMacs with Thunderbolt peripherals, not sure how well daisy chaining will work with lots of peripherals. But I’m very happy with the performance of these machines, especially with SSD boot drives.
3) Update to Dell PCs as we’ll be switching to Avid eventually.
Each choice has good and bad sides. If there was an FCP8, this would be a no-brainer and I’d stick with MacPros. But eventually we’ll switch to Avid and so we need to look at all of our options including (shudder) PCs.
Cheers
John
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I couldn’t even make it through the moderators intro. This is the type of presentation I’d rather read about than waste an hour of my life watching.
Cheers
John Chrisite
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Richard
The fact that you can here the audio when scrubbing or jogging through the tape indicates a deck problem. Try doing the output again with only the SDI cable going to the deck, no outputs, no reference, no monitors.
Cheers
John
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Sounds like a deck reference problem. What are the channel condition lights doing on your deck? Not familiar with the 2000 but used to have this problem all the time with a digibeta deck if the output of the deck is going back into the kona card while outputting. The condition lights on the deck would always be red when this happened and you would hear random bits of audio. Disconnect any inputs to the kona and try again.
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Jack
The key point here is how are you going to add pulldown? FCP won’t do a proper job by itself. You need a video card like a Kona or Blackmagic to add the correct pulldown to a 23.98 sequence while outputting to 29.97. We do this all the time, edit in 23.98 and output to 29.97, mostly using the Kona 3. Looks great.
Cheers
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Perfect Jay, thanks!
You’d think BM would want to promote those numbers!
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Michael
What’s the issue with L & T right from the cards aside from reel names? I do it all the time (after I set the write protect switch on the card)
Cheers
JC