Kevin Monahan
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That’s ugly. I would do a clean reinstall of OS X if I were you.
Kevin Monahan
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An X-serve RAID is definitely NICE. But my feature request for the RAID guys would be that there were a “half-rack” X-serve alternative at half the price, no? 😉
So back to the initial question: So you’ve got 8mm footage you are going to transfer, right? I guess you need to ask yourself if it’s worth it to go to a res greater than that of NTSC. Is it 16:9? How does the raw footage look? Can it be upconverted?
So if you are gonna stay with DV NTSC, an additional 500 GB drive would be a good start. External SATA storage via a PCI card is the most stable after that. I would like the option to have a RAID in case you needed to finish in DVC Pro 50 or Uncompressed. HD might be out of your budget, but for that you’d need a pretty hefty investment in one of the larger arrays, like the aforementioned X-serve RAID or a third party RAID: Huge, MEDEA, etc.
With DV Material, a FireWire 800 drive is probably going to suit you just fine as an alternative. I’d put it on a separate bus by using a PCI Card with FireWire 800 inputs available.
Kevin Monahan
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I would suggest you change your sequence settings. Your compressor looks as if it’s still set to DV NTSC. I would suggest the Apple 10 Bit Codec. You can get around all this by using Final Cut Pro>Easy Setup>HD Uncompressed 1080i (or whatever you need). Make a new sequence and you will be set. You can find a list of Easy Setups in the Sequence Settings dialog (CMD + 0).
And yes, you should be able to output a QT movie with the alpha channel if you use the proper codec. I suggest the Animation Codec with a bit depth of Millions of Colors +.
Good Luck.
Kevin Monahan
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[Matte] “But if you want to treat EACH NAME as an individual effect, “long and complex” is the name of this game.”
May I add tedious to that list? 😉
It does make me think that there must be an easier way to do this. Like a batch action via automator or XML. Create a template and have an automated process churn through a spreadsheet.Kevin Monahan
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After Tom’s DVDs, you’ll no longer be a bonehead I bet. Good luck and work hard, and soon you’ll be posting answers to other people’s questions. 😉
Kevin Monahan
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Debe,
The FCP “Units” were something Graeme Nattress wrote about in his color sampling article on kenstone.net, I believe.Kevin Monahan
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[debe] “Kevin Monahan has one that’s not been updated for FCP 5 (yet), but much of the principles apply, and it’s very well written and had easy to follow instructions.”
Debe,
That’s the beauty of my book. It doesn’t NEED to be updated to version 5. Why? Not much at all has changed between v.4 and v.5. HDV support and multicam have no bearing on FX creation.All the same FX creation principles have been there since FCP 1, so that is why I didn’t include a version number when writing the book. You can use the same principles for creating fx and getting into advanced workflow no matter which version you are using.
If Apple completely revamps their FX scheme, then that is the day my book will take a hit. 😉
Kevin Monahan
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A/V synch problems boil down to two things:
1. Your drives are not fast enough.
2. Your clips are too long.Those that capture entire rolls to firewire drives have the most problems with this. Now you know why.
Canon XL 1 or XL2 have another black mark against them in that they don’t do well at ALL with long captures, especially capture now.
If you actually logged your clips as “scene and take” (every take has a separate clip), as most pro editors do, you’ll have much fewer headaches in the long run.
Capturing entire rolls seems like a time saving idea, but in the end, it’ll bite you in the rear.
Kevin Monahan
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Or you could avoid placing in and out marks and just use Replace Edit to get the speed adjusted clip back into the timeline. Save a coupla keystrokes. 😉
Kevin Monahan
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Bret is correct. You reconnect them in the LT prefs dialog.
Kevin Monahan
Take My FCP Master’s Seminar!
fcpworld.com