[Lj Corwin]

Oh yeah, I had that too. Very annoying. But I also hated having to reboot the mac when FCP’s edit to tape decided it didn’t want to insert with any timecode accuracy. Among other things:)

I guess there’s bugs everywhere. Just different species.

LJ

[Lj Corwin]

I’m curious as to how the Adrenaline is adding hours (if ya don’t mind elaborating). We just bought two because we couldn’t deal with hours being spent trying to uprez on FCP. Our purchase decision was based on Cow postings regarding FCP Media Manager horror stories. But I suppose if your work is mostly shortform and you don’t have to uprez then FCP would be a better solution.

But I am curious to know what kind of problems we may be in for.

Happy Holidays!
LJ

[Lj Corwin]

Thanks for the response, Michael. And yeah, I have been looking forward to going in SDI and not having to “proc on the way in.”

[Lj Corwin]

Hmmmm….now I’m more confused than ever.

I have been shooting 24pa footage, capturing component (no SDI available) into a 29.97 project and have been very happy with the results. The reason for the 24pa and not shooting 24p standard was simple; it simply LOOKED better to us. Yes, yes, we know we went against everything ever said and written about 24p vs. 24pa if your not going to a film out or working in a 23.976 project but the deciding factor was that 24p looked “steppy” and 24pa looked “smoother and filmic.”

I am getting a new Adrenaline in a couple few days. My plan was to use the same workflow (24pa into 29.97 project) but capture over SDI. Will going in SDI mess up the footage because of the wrong pulldown cadence? I guess I can run some tests when I get the Adrenaline but I’d love to know technically what, if anything, happens differently to 24p with SDI capture instead of component, Y/C or composite capture.

Please pardon me for my ignorance on this (particularly with my usage of words like “steppy” and filmic”). This is one area that just keeps tripping me up.

Thanks in advance.

LJC

[Lj Corwin]

Excellent info. Thanks!

[Lj Corwin]

I don’t think there is an advantage. I shoot 24pa with the SDX900, work in a 29.97 timeline, output to Digi-Beta and/or IMX and it goes on the air. And it looks great.

The doc editor in the room next to me is headed for a filmout when she’s done with her gig. Also shot 24pa. I guess it makes sense for her to work in 23.976. Unfortunately, she never asked when she set up her project (or rather her assistant didn’t) and instead she is working in a 29.97 project.

No one here wants to tell her because she kills messengers. Also, who knows? Maybe I’m wrong.

Anyone?…. Anyone?….. Bueller?…..

[Lj Corwin]

Well said, Chris, well put. Maybe the best posting on this issue yet.

I’m stickin’ a fork in it.

[Lj Corwin]

Hi,

I have been lurking on this forum and the FCP forum for many, many months trying to figure out what system to go with, Avid Adrenaline or FCP with Kona2. I’ve been a Discreet edit* owner, also cut on MC and have been playing around with FCP as well. I also took a 2 day FCP training class. Today I made my decision and plunked down a 50% deposit on a new Adrenaline. Reasons for my decision (beside edit being a dead product):

– While I like the FCP editing interface, there is no way I can successfully run my business with the FCP’s Media Manager being what it is. We do documentary films and episodic television shows with hundreds of hours of footage . Working at low-res for offline and finishing by re-batching high res is essential. We use tons of motion effects and I don’t have time to manually rebuild them. I’ve sifted through the “Media Mangler” horror story postings and after reading a recent post that fixing Media Manager would require a major software rewrite on Apple’s part pretty much clinched the Adrenaline decision. And, if one more FCP user (or instructor) who has never followed a traditional offline/online workflow tells me that “hard drive space is no longer an issue” I will lose it. The number of TB’s I would need to get through one 23 episode season would exceed the cost of an Adrenaline.

– In NYC, the talent pool for Avid editors and assistants seems a lot bigger.

– Not being able to mix codecs on the timeline is a drag.

– In general, it just seems like it takes forever for me to do things on FCP. Many keystrokes and mouse clicks and tiny, little icons and buttons. And yes, I have RTFM.

I’m not thrilled about having to buy an Adrenaline. I will miss edit* and FCP’s robust databases, particularly being able to type in a keyword and having every clip in the job come up. I like having more than one timeline open at a time. There are so many things I prefer on FCP than on Avid. But I have to be able to finish my jobs without killing myself to make air. I’ll keep FCP running on my laptop for small DV jobs.

So that’s just me. If I were cutting shortform, life might be different.

My 2 cents,
LJ Corwin

PS – I may really hate the Adrenaline once it gets here in two weeks thus making the above post meaningless. Stay tuned….

[Lj Corwin]

Well, I just came from the show and it IS indeed a rumor. No free HD board with the purchase of an Adrenaline.

Sorry to send out any false alarms — LJC.

[Lj Corwin]

Of course I remember you Alex! And your successful Slip & Slide Campaign! Yup, still rocking. Very busy in NYC and hope it continues (sound of wood knocking….). Glad that you’re doing well down there in FLA.

Take care,
Laura