[John Fishback]

I’m assuming you only have 1 copy of the MXF file on your card (and/or drive). Was the blue circle completely filled? That means the entire clip was transferred. If it’s half filled that means only a portion of the clip (you set an in and out) was transferred. What were the exact steps you took? Normally, in the L&T window I point to the folder on my drive that contains the MXFs. Then, after the clips appear, I review a clip, set ins and outs, and add that to the queue and the clips appears in my Logging bin.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

Just do as Dino suggests and you will be fine. Sorry for the confusion. I looked at your profile and it said iMacs.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

You’ll need a capture device to capture a SDI signal. The AJA IO (and others) connects with Firewire. However, you may have issues using an iMac since you need to connect both the IO box and hard drive to your system and you only have one FW buss. You should not use your system drive as your capture drive.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

Try this link. The info’s at the top of the page. https://eww.pavc.panasonic.co.jp/pro-av/support/desk/e/update.htm#p2_pc

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

If the different clips have the same timebase, rendering will do the trick. Just be sure your render preferences are set to Best. If the clips have different timebases (23.976, 29.97, etc.) those conversions need to be done in Compressor. FCP will butcher the conversion in a render.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

The old mono button is certainly indispensable. It’s the only programmable button I’ve set on my mixer. A quick click turns up all sorts of problems that might hide in the background of a mix.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

I’m glad I’m not in the rental business. The diversity of product, not just Panasonic, makes equipment choices for rental houses a nightmare.

As a producer, however, the diversity of choices is great. Two years ago we bought an HPX500. It totally eclipsed our older Beta camera package. We couldn’t be happier with this choice. As I look at the Panasonic lineup I see choices for users at any level in the production business to make an excellent price-performance decision.

I agree a way to isolate the camera from the “recorder” is important. And there are already a few ways to do that – Flash XDR, AJA KiPro and even Panasonic has an off-camera recorder, the AG-HPG20. These three recording devices can be used with any camera with SDI output. If you have an older camera with component outputs, you can use a low cost converter that converts component into SDI (see AJA).

In the end, the market will determine the winners and losers. Right now I wouldn’t write off Panasonic or Sony, both proven winners over the years.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

You should mix for the master – your final output. The peak and other levels may vary according to your delivery specs. If it’s for broadcast, get the delivery specs from the broadcaster. They may specify a dialog level, an average level and/or a peak level, For instance, dialog might be -20 with peaks not to exceed -10. But check with your client to be sure. If the delivery is for DVD, the specs will probably be different. If you have a dialog level specified, you should first adjust you dialog to conform to the spec. Then, add music and effects around the dialog so it remains audible.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

Another way to do this (if the area where the text emerges is relatively vertical or horizontal) is by keyframing a crop. Assuming the text moves left as it emerges, line up the text in its final position and adjust the right crop to the right edge of the text. Drop a keyframe for the right crop and position of the text (in the Motion tab). Then move the text into its “hidden” position. Now, adjust the right crop to cover the text. FCP will automatically keyframe the new position and crop. After you watch the reveal, you might have to add a keyframe here and there to account for the talent moving. If the edge from which the text emerges is irregular you’ll have to use a matte.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

In the L&T window did you have 3 or 6 files showing?

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN