John Pale
Forum Replies Created
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I understand perfectly where you are coming from. I do a substantial amount of work on Avids, but I have found that the absolute worst thing you can do for your workflow on FCP is to try to force it to be an Avid. There are just too many things that superficially appear to work the same but really are fundamentally different. Even though you can do it the same way in FCP as Avid, it may not be the most efficient way on FCP…etc.
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If your drives can handle it, export from Streamclip as 8 bit Uncompressed to minimize compression loss.
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I think you can keyframe the location of the cloning. Not saying it would not be tedious, but it could be done.
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take a look at this….its for replacing dead pixels by cloning…but it should be able to do the same thing for your problem
https://www.digital-heaven.co.uk/fcplugins/dh_reincarnation.php
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Yes. You have to understand what an EDL is.
EDL ‘s were designed for linear edit controllers. It’s a 1970’s convention. This means tape-to-tape editing systems. In this scenario you are building a master tape shot by shot from source tapes. There was no concept of “tracks” at the time. There was just a record machine. An EDL cannot fully reflect what non-linear editing system is capable of.
Its really not that big a deal to make multiple EDL’s. Just duplicate your sequence as many times as you have video tracks. Delete all the other tracks except for the layer you need for the EDL.
If you are moving your project to an Avid system, the best way is to use Automatic Duck.
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FCP does not use filler. For the most part, it makes things easier. You have to think a little differently.
Nest the entire sequence and apply the widescreen filter to the nest.
Duplicate the sequence first to retain an “un-nsested” version of the sequence, if you like.
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Are your drives daisy chained?
How are you monitoring? (through a firewire device..camera, etc)?Sounds like somethings odd in your firewire bus.
I dont think this is whats happening, but its a possilbility…The drive may be going to sleep…go into your Energy Saver preference pane and set your drives to never go to sleep.
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Pixlet is NOT a codec intended for editing. I would avoid it in FCP unless you just want to export to it. Its really only good for high quality previews of animations where you need to keep the file size down. It was mainly developed for internal use by Pixar.
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[boomshadows] “However, I if I use the “preview tone” option it is clearly not the -18db reference, it puts out much lower so I have had to discard it, which is kind of annoying since I have to then do an edit to tape that I abort once I have the tones set correctly on the deck.”
The preview tone is adjustable in the mastering settings. Make sure you have it set to -18, it may be set to something else. I have found it to be accurate.
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[Donkey Dave] “Is the multiclip sync function retarded or is it just me.”
I don’t know anything about your mental faculties, but the multiclip sync function is not retarded. If you have never used it before, or the similar function on Avid, then you need to read the manual.
If your source timecodes don’t match (which is quite often the case, unless you are lucky), you can set a common in point among all the angles using a visual or audio cue.
Volume 2 (Editing) Page 247 in the Final Cut Help would be a good place to start.