Ken Pugh
Forum Replies Created
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Doesn’t help you – but I’m also using LUT Buddy with ProRes transcoded footage (from Canon 60D) and having no problems. Although it does render 5 times slower than using Colorista or the three-way. It’s quite easy to get the look using these tools rather than the LUT anyway so you wont loose much if you decide not to try and get it working.
Best,
Ken.
8 core 10.6.7 FCP 7.0.3
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Sure, if I’m doing the log and transfer that’s what I do – but the clips are arriving with the names already entered – I’m doing the online – so I have no control over how they are named in the transfer process. I was rather trying to establish whether there is a problem using file names longer than 32 characters – or whether the errors I’m getting are due to other causes. Have you heard that long file names cause trouble in FCP7? The FCP manual suggests its Ok to use names up to 255 characters long….
Best,
Ken.
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That’s what’s happened – with I suppose the lack of metadata available in FCP7 I’ve been getting files that first contain the date and time stamp, then the file number, then the offline editor has added a descriptive name – which puts them over the 32 characters. This I’ve found can cause havoc later when re-linking. But I’ve not been able to find much about this – is there a 32 character limit on file names in FCP7?
Cheers,
Ken.
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see my post below – for now you can do this by nesting the non-Kona sequence into a Kona sequence – and jumping back and forth – works well – and no need to re-render for the Kona sequence.
Ken.
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Solution:
read this elsewhere – tested it out and it works very well – so for the archive:
To improve edit performance using Premiere and Kona – edit in a non Kona Sequence, like ProRes (for now), then drop this as a nested sequence into a Kona sequence. This way one can effectively turn the Kona output ON and OFF by switching between the sequences during editing. Fast, effective, and no need to re-render when switching to Kona output.
Ken.
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My issue is the Kona output slowing down the responsiveness of the timeline – apologies I thought I’d mentioned that – but it was in another post. Otherwise, a great idea!
Best,
Ken.
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Thanks – but I’ve got it working now – my only problem is that it does slow down the timeline responsiveness considerably – and there seems to be no way to toggle the Kona output on and off – it seems hard wired into the sequence preset. It would be great if I could edit fast, without the Kona output, and then turn on the Kona for critical viewing. The only way I can see to do this is to copy the edit into a non-Kona sequence – but then of course you loose all the renders.
Best,
Ken.
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… in fact I can’t see how to turn Kona output either off or on in Premiere, retrospectively, once a sequence has been created.
Ken.
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One thing to add to Walter Biscardi’s excellent startup tutorial for all those Kona owners thinking of migrating from FCP to Premiere. This tripped me up for quite a while… there’s a little symbol under the source and programme windows of three interlocking circles – it’s called ‘output’. When you select it drops down a menu that allows you to control playback resolution – by default on both my newly installed Premiere 5.5 systems this is set to HALF – and in this mode the Kona output does not work properly – it’s essential to change this to FULL. Caught me out for the best part of the morning wondering why I couldn’t get any video out through the Kona.
Best,
Ken.
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Just checked on the apple site, they still have pro applications update 2010-02 available. It’s a 310 MB download and I assume it will update FCP studio 3 to the following:
Final Cut Pro 7.0.3
Motion 4.0.3
Color 1.5.3
Compressor 3.5.3
Apple Qmaster 3.5.3I’m downloading now!
Best,
Ken.