[John Foley]

The All-In-Wonder is a PC only card. The key is for an ATI card, it has to have MAC in the title to be usable on the MAC platform

Please visit http://www.thefinalcutstore.com for all your Final Cut needs.

[John Foley]

If you are thinking Color is the “bomb”, then it is not. At version 1.0, it’s gonna take some time to be really useful. By useful, I mean “in workflow”. it will take some time to learn the quirks of Color.

FCP 6 is interesting with “open timeline” and that does mean drop any formated clip into it and the project sets the codec to that. The nice 422 ProRez and 422 Prorez HQ codecs do not work on any machine older than an Intel MacPro or MacBook Pro????

Motion3 with 3D or 2.5D as some people call it is much improved from M2 and Compressor 3 is much more robust.

Please visit http://www.thefinalcutstore.com for all your Final Cut needs.

[John Foley]

“I guess this is a classic case of not taking proper precautions when upgrading mid project.”

I would always advise anyone going from one version of FCP to a newer on to First – clone the current boot volume onto a firewire or SATA drive. Then – reinstall the operating system and QuickTime version necessary to support the latest FCP. The install it ALL from scratch.

Gives you a completely bootable copy of the last version and access to the latest version that you will ultimately be using from this point forward for new projects.

Please visit http://www.thefinalcutstore.com for all your Final Cut needs.

[John Foley]

Wasn’t it recently announced here that FOX had purchased a ton of DVCPRO HD cameras? I think it was a bunch of HVX200’s? That must mean that at least they are utilizing DVCPRO HD?

[John Foley]

Don’t really have any real information on this. My Quicksilver 2002 dual 1.0 GHz machine sets at FCP 5.1.4. When Apple states that a minimum machine is 1.25 GHz it may mean as it did when Motion first appeared, that you can’t even load any of FCS2 on a machine slower than that?

I may experiment later on but not expecting anything positive.

Please visit http://www.thefinalcutstore.com for all your Final Cut needs.

[John Foley]

That’s supposed to be the idea of the 422ProRez HD codec in FCS2. Mixing those different formats on one timeline is now possible in FCP 6 and utilizing that ProRez codec is supposed to let you do High Def at low data rates.

Please visit http://www.thefinalcutstore.com for all your Final Cut needs.

[John Foley]

Due to lack of market interest, the CinePorter

[John Foley]

Place the play head directly over the marker in the sequence and type mm (m twice) to open the Marker Editor.

You can rename or even erase that marker.

Just Move the playhead to where you want the marker moved to and do the mm and create another chapter marker of the same name.

Please visit http://www.thefinalcutstore.com for all your Final Cut needs.

[John Foley]

Besides the necessity for a BIGGGG! RAID system, you don’t mention how you are going to capture this. Do you have a capture card capable of uncompressed HD at 4:2:2 and a tape deck capable of handling these tapes?

Another thing – which computer are you using for this project. It had better be a later PCI-X or PCI-Express version if you want to be able to capture and support uncompressed HD storage. The early G5 computers had plain PCI slots which have slower bandwidth and are not capable of capturing uncompressed HD.

Storing 60 hours of uncompressed HD tapes is cost prohibitave unless your client has very deep pockets. You are looking at slightly more than 4×10.5 TB XServe RAIDs at about $15K each.

Please visit http://www.thefinalcutstore.com for all your Final Cut needs.

[John Foley]

What serial number(s) did you need to have to install it? Was FCS1 your original purchase or did you have FCP before that?