[Ed Cilley]

I’m not sure which version of FCP you are using, if 7, then you can Share>DVD and this will work.

Keep in mind that a DVD is SD and your project is HD, some some conversion is needed.

Here are some comments from Larry Jordan’s recent newsletter…

[Larry Jordan]
“If all you need to do is burn ONE sequence to DVD, without any fancy menus, use File > Share > DVD from inside FCP 7. [Using Share from FCP 7 makes better Blu-ray Discs than using Compressor 3.5.]

If you need to create a DVD with menus, use File > Export > QuickTime movie.

Create a self-contained movie using your ProRes format.

Bring that ProRes file into Compressor and apply the DVD Best Quality setting that most closely matches the TOTAL length of all your videos. This process will down-convert your HD footage to SD.

Bring the now-compressed MPEG files into DVD Studio Pro and author your DVD as normal.”

Also, keep in mind your 25p settings are PAL. There may be issues with PAL to NTSC is that is your process.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Tons of great posts here.

Evan, I know your gig has since past and you have dealt with the situation as you saw fit. The thing that really sucks about your situation is the fact that they called an hour before the edit.

When a new client calls about a freelance edit job, I send them my rate card which gives them an idea of what to expect, including my cancellation fee. I would (and have) broken this rule for new clients. If an existing customer cancels with short notice and wants me to wave the fee we negotiate. I understand they have budgets to deal with, and am willing to give them a pass for another edit in the next week or two.

Most people are very understanding – cancellation fees are a common industry practice. How you handle them decides how your long-term relationship develops. I have worked with some of the same people and companies for over 15 years and each understands how the money works.

[Tim Wilson] “no first-time clients got any grief from me for anything. We have no relationship yet. The project hadn’t begun.”

Tim, totally agree, but…

[Tim Wilson] “Not that you can’t mention it, but frankly, I wouldn’t. In similar situations, I didn’t. If they really are big, and you really do hope to work for them for a long time, take the money, and get used to be being pushed around. It stinks, but this is why they call it work.”

…I totally disagree. Just because a company is big doesn’t mean they have ANY right to push me around. If the people who are hiring me want to work that way, forget it. My time is better spent elsewhere, no matter how big they are. (And I work with many of these Fortune 50 companies.)

If you “get used to be being pushed around” now, that is how they will always view you. Let them know your policies and expectations. You’ll be expected to fulfill their company expectations, they should do the same for you and your company.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

[Shea Bennett] “I’ve tried the Pan & Scan effect but can’t quite work it out.”

That may not be the effect you want to use. If you have the mask applied (1.85 Mask) then the simplest thing to do is to step-into the clip and add a Resize or 3D Warp (if this is HD, click the HQ button in the effects window) before the mask is applied.

Two ways to do this…
1- with the video track you want to step into selected (let’s say V1) and the Position Bar parked over the clip, click on the small arrow at the bottom of the timeline that points down. Then add your Resize or 3D Warp and position the clip accordingly. The problem with this process is you can’t see your Mask. That’s why I like …

2- At the bottom of the timeline click on the Segment Mode (Lift/Overwrite) button. (I’ve remapped this to my keyboard to Shift-X.) When you move your mouse over the timeline your mouse will change to a red arrow. Double-click on your mask and you then add the resize or 3D warp to the opened layer (1.1 in this case). NOW, you can move your image up, down, zoom, whatever you like and see the finished result with the mask. Double-click on the 1.1 layer to add more effect “under” the others. Double-click on the V1 layer to get back to normal. To get out of Segment Mode, click on the TC1 track, click on the red Segment Mode (Lift/Overwrite) button, or use your shortcut key that you have remapped.

Hope that helps and have fun.
Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

As mentioned above, not sure when it was added, but look in the Effect Palette>Generator>Timecode Burn-in.

It will take the TC from the timeline and create window burn that will play in realtime. (Again not sure which version this works with.)

[Brad Phillips] “on the output from the raw XD files before or after they’re injested in the AVID for logging/scriptwriting for the producers?”

How are the clips being viewed by the producers after the clips have been ingested into the Avid?

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Phillip,

[philip coccioletti] “They are 1920x1080i. 16bit co-deck is Integer (Little Endian) I know the co-deck is wrong for Avid.”

I just imported some clips that were 1280×720, 16-bit Integer (Little Endian). The question could be two fold. What is your Avid project setting? If you are trying to import into anything other than 1080i, you may have issues.

Second, what is the actual codec of the QT? In my case these clips were shot with a Nikon D90 and have the Apple OpenDML JPEG codec, imported into a 720p project. Imported fine, so it’s not the 16-bit Integer causing the problem.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

…and what is the final delivery? Web, film, DVD?

Timeframe for delivery (first cut, final approval)

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

[Carlos Alberto Flores Corniero] “Its format is 720/25p and the title too. …The guy give me back a .mov. Its format is PAL 720×576.”

Personally, I would throw it into After Effects and spit out what every flavor you need.

But my question is this, you have a project that is 720p. Typically that’s 1280×720 or 960×720 depending on the format. Why do you have a .mov from the guy that is 720×576 – that’s standard PAL, not HD?

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Did you move or copy? Delete the media database file on the G-Raid. Your boot drive may be filtered out in Settings>Media Creation.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

Protools should open MXF, but you could transcode the MXF files to OMFI by using the Consolidate/Transcode option under the Clip menu (or right-clicking).

[Nicole Williams] “I just downloaded the MC 4.0 version”
Gutsy, upgrading in the middle of a project. This is something we usually try to avoid while a project is in progress.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield

[Ed Cilley]

There is a setting in, Settings>Audio Project where you can choose the Audio File Format, OMFI or MXF. Your system must have been set to MXF and thus created audio in this format – which is fine.

[Nicole Williams] “I have to give someone the project…and the OMFI file”

If they are cutting on an Avid that shouldn’t be a problem. You could give them the drive with all the media and a copy of the Avid Project. Depending on what version they are using, they should be able to use the MXF files.

Ed

Avid and FCP Preditor
_________________________________________________
Anything worth doing at all, is worth doing well.
– Philip Dormer Stanhope, Earl of Chesterfield