Kevin Hedin
Forum Replies Created
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Tell me more about the media manager fixes. What do you know? Or where can I find documentation to the fixes? Thanks.
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Bob, can’t you also use RAID 1 (mirror) for simultaneous backup? I haven’t tried this before, but I’m assuming that you can separate the drives afterward, and put one on the shelf for backup and start using the other drive to edit with. Has anyone tried this?
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Is this the first time working with 24p content? If your not used to seeing 24p jutter, that could be it.
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Nice. Very nice. In all the years I’ve been editing, I’ve always placed a marker on my source clip and a marker in my music to sync up. It’s nice to know that there is another way to do this. I do find it annoying, however, that you do get the “Insufficiant content for edit” message when placing your head on the first frame of the clip. It seems that the extra steps to correct this makes the feature not worth it for my to change how I currently edit, unless I have missed something here.
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Another way to do this, if I understand you correctly, is to select the new clip in the browser, COPY, then PASTE ATTRIBUTES on the old clip in the timeline. Choose CONTENT, and you should find that all your transitions and filters have stayed, but the clip has been updated.
BTW, I don’t understand what Replace Edit is. I’ve never used it, nor can I find this function. anyone care to explain this to me?
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[Michael Horton] “This year much of the show will be given over to User Show and Tells with demos by AJA, JVC, and Blackmagic Design in between. Theme of the show will be “What are you doing with Final Cut Studio” and we hope to answer that question.”
Is this something your going to ask the audience at some point? or do you already have a list of users for the show and tell?
I have a few things, FCP tips and tricks wise, that would be beneficial to all, but I’m not sure that is in your agenda.
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Thanks Jeremy for that product info. I didn’t know something like that existed. Now I might be able to continue to use my IO for Cloning tapes.
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Deadhead, I’m interested in this drag feature for TC. Can you tell me how this feature helps your workflow? I’ve used edit to tape for years, and output many things to Beta, but I’m just not understanding exactly what your copying from where to where.
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[David Cochran] “I am currently finishing digitizing a 35mm film project for theatrical release. It will be finished in 23.98 (digital Intermediate)”
Don’t you need to be on a true 24p timeline? 23.98 is used specifically when you want to go back to 29.97. Actual film always runs at 24.0fps, so you might have some sync issues. I edit at 23.98 for reasons other than film-out. I would check to make sure 23.98 is what you need to be editing at.
As far as the monitoring, your NTSC monitor is ALWAYS running at 29.97 regardless of what you feed it, unless you have a TRUE 24p monitor like the Sony 20-L5/1. If I were you, I would hook up a second cinema display to your Mac (if you can) and use the CINEMA PREVIEW that Final Cut has built in. That way can you view your 23.98 or 24p footage natively. Final Cut will convert your 23.98 footage to 29.97 on the fly (when selected) to output to an NTSC monitor. This conversion of course will add interlacing that you don’t want to see if your final destination will ultimately be film.
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[jeff Gural] “So then is it a crap shoot type thing if the 00 or 05 frames aren’t A frames? Do you just try capturing with 01, 02, 03,04 and see which one works or are there more possibilities than that.”
It’s a crap shoot if you are working with a previously edited tape, as the cadence will differ on EVERY shot. If you are working with a Film to Tape transfer, and someone f***ed up the cadence, then it should be off by the same amount throughout the whole tape, in theory.
If you find yourself guessing the A frame, and your deck doesn’t show whole frames (as BetaSP does not), just capture a section in 29.97 (with movement in the scene), and analyze the footage in your NLE to find the A frame. Then log all your footage with the A frame as the MEDIA START point, before you capture at 23.98. Remember, the A frame is the frame with a progressive frame before and after it.
As far as AE goes, well it’s just smart I guess. I don’t know why Cinema Tools can’t do the same. Cinema Tools assumes that frame that is currently being displayed is the A frame, so if your preview window is not parked on an A frame, no combination of settings will work to reverse the pulldown.