John Christie
Forum Replies Created
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That’s some amazing stuff in that video. I’m guessing Twixtor. I’d also guess they shot everything at 50p in PAL land, giving them perfect 2:1 slo-mo and convert the 50P to 25P for regular speed use.
Cheers
John C
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Just a shot in the dark, here. Do you always mixdown your audio? Not just render all. It’s always helped me with dropped frames over the years.
Cheers
John C
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We’ve done that with one of our systems. No down-side we can see yet.
Cheers
John C
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Thanks Thomas, I’ll be editing on a 17″ MBP. The MB Air is just for transcoding. The MB Air will be a present to my wife after this one 4 day shoot and she doesn’t use FCP. (SHHH! It’s a secret, don’t tell my wife.)
Cheers
John Christie
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Good point Shane, hadn’t thought of that.
Still interested to know if anyone is running FCP on a MacBook Air, though.
Cheers
John Christie
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Both codecs need to be transcoded for FCP and edited as Pro Res. Although the 60D technically has a higher bit-rate, the Panasonic is supposed to have a better implemented bit-rate, something to do with number of i frames.
But you should really consider the camera features before choosing the codec. The Panasonic is a much better video camera than the Canon 60D. As there’s no mirror in the Panasonic, it has an eye level viewfinder you can use while shooting. Auto focus works while shooting as well as a few other features optimized for video.
The Canon 60D is a much better still camera. It has a larger sensor, huge choice of lenses and accessories. If you’re shooting outside with the Canon, you really need a viewfinder magnifier like the Zacuto Z-finder. The audio on the 60D sucks for video, ALC only, no manual control. I have a 60D and a 7D and love them both. But a friend has the new GH2 and I have to say it’s a better video camera.
So if you’re shooting 60% video, 40% stills, get the Panasonic. If you’re shooting 60% stills and 40% video I’d go with the 60D.
That said, the swing out screen on the 60D makes it a better video camera than the Canon 7D or T2i
Cheers
John C
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Make sure you have all your video tracks collapsed. If you have all your video on track 2 and nothing on track 1, FCP will want to render that even though it shouldn’t need rendering.
Cheers
John C
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I’ve been doing the same research recently. Have a look at the Cache-A, an LTO device attached to a small linux box with a couple of internal drives. It’s the only stand alone solution that requires no other software to run.
It can read cards directly which makes it easy to copy them first to the Cache A and then to your FCP systems.
It’s not as fast as a NAS or Fibre attached drive, which can be a factor when restoring across a network at Gigabit speeds only.
Beyond that, if you get a stand alone LTO drive you need to consider which backup software to use and that gets tricky. There’s Retrospect, cheap but not very expandable or net savvy. Or you can go with Atempo at the high end – over $25K for the software alone, but it integrates through Final Cut Server for very robust backups. You can even backup an entire project directly through Final Cut.
LTO 5 is the way to go, 1.5 TB per tape. The 2 sizes quoted are for compressed and uncompressed. But as video is already compressed, just look at the smaller number.
Cheers
John Christie
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Used to see an audio problem where imported files would convert to the frame rate your current open sequence was set to (or default sequence set up, can’t remember it was a while back we came across this)
Create a sequence set to your desired import rate and try the import again.
Cheers
Cheers
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First NLE was a pencil and paper, then the eraser wore out and it lost it’s non-linear capability 🙂
Avid Version 4 on an old Quadra (700? 750?)
Been with FCP now since version 1.2