[John Pale]

that can easily be done within FCP, but if you discover you need to do something more challenging with it, FCP comes with Soundtrack Pro, which is a very capable sound editing program.

[John Pale]

[Danrnw] “Or are you saying AVID did it the same way?
I never could get AVID to do grouping in any quick way like FCP
but maybe I wasn’t doing it correctly in AVID.”

Oh. I thought you were saying Avid was easier than FCP for this. My mistake. Avid has this function too, but its not as customizable as FCP’s. Never really used it. The manual pages I cited were in FCP6, but the functions are the same in FCP 5…you already knew that.

[John Pale]

[Danrnw] “Much easier than AVID.
You simply highlight your three bins and select make mulitclip sequence.
You will get multiclips for each segment.
You will also get a large sequence of all the stuff together,
but I just trash that sequence.”

Doesn’t the multiclip sequence feature in FCP pretty much do the same thing (I’ve never used the feature in Avid or FCP….I’ve only used the basic Avid group clip/FCP multiclip, despite having done hundreds of multicam shows.

see page II-254 in the manual, if you dont know what I am talking about.

[John Pale]

[Sean ONeil] “Reel and TC info is stored within the Quicktime media itself, not in Final Cut.

You have to duplicate the media in the Finder and the import the new clip. Then you can change the reel.
“

There’s no media yet. He’s talking about preparing his batch capture bin with identical timecodes from each camera…w/o having to make identical entries in the log/capture tool.

The method Danrnw and I described works for this purpose.

[John Pale]

Its not within FCP, but its easy…

Log once.
Export as Batch List.
Open in Excel…change the reel number.
Import Batch List

It’s faster than it sounds.

[John Pale]

Grasping at straws….It may have to do with the location of your Motion content (which is different in FCS2)…which I assume is where your particles are coming from. Try resetting that and try repairing your permissions.

[John Pale]

[Michael G] “Actually we sound editors want the program broken into chunks not tracks.”

Actually, it was a sound editor that got me doing it the “tracks” way.

[Michael G] “Always ask your sound people what they want.”

Amen.

[John Pale]

read about “Auto Select” in FCP Help, beginning on II-185

[John Pale]

No update. OMF, though still widely used is an old standard and will probably never be updated again. Even Avid, its inventor is moving away from it in favor of AAF.

Instead of breaking into 30 minute chunks, an easier way for your sound editor might be breaking it up into several TRACKS each.

Duplicate your timeline several times, depending on how many tracks you have and how long the program is. Have one of the timelines be track 1 & 2 only, then 3 & 4 only, and so forth. You can put more than two tracks per timeline…this is only an example. Depends on edit density and length of program.

Export an OMF file for each timeline.

Then your sound editor only has to paste them together into one Pro Tools session w/o worrying about throwing it out of sync or anything.

[John Pale]

I read in several places that 256k was the best for video editing. When setting up my raid, I tested a few different settings using the AJA System Test and it did not seem to make any discernable difference (though I would not claim to be an expert in these things). I ended up going with 256k.

David is correct…forget partitons. They just cause a performance hit.