Mark Raudonis
3
COW Coins
Forum Replies Created
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Yep. That simple “A-B” box will work just fine. If needed, they even make “A-B-C-D” boxes so you can pick from one of four decks to control.
We’ve got a bunch of them deployed throughout the building. I think they cost less than $20.00 bucks.
Mark
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Peter,
There is no FREE LUNCH with this situation. Either you spend the time loggging and capturing, hopefully catching EVERY TC break, or you mark in at the start of the tape and out at the end and let FCP do it’s thing.
We’ve found that FCP deals with TOD code at about 1.5x real time. This number is totally dependent on how many breaks you have. In general, that’s the average figure we’ve found.
Good luck.
Mark
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How much out of sync? A few frames or totally whacked?
Depending on how you originally digitized the material, it’s not unusual for the “hi res” to be a few frames out of sync. Whenever we do this process we make sure to digitize the up res WITH handles, and then check every shot for sync. More than we wish are usually out by a few frames.
mark
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Ale’s suggestion is a good one.
But if you still want to go “old school”, here’s where you can find “Edit Lister”.
https://www.mcqpro.com/html/EListerTracker.html
mark
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Uh… Ben,
You’re wrong. FCP does NOT output TC even with RS-422. Read it? Sure. Output it … No way.Mark
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John,
I gotta ask, “How badly do you want to do this?”
The problems you’re going to run in to is that all of your PC brethren will point fingers at the Mac as their source of incompatibility. Mac deals in Quicktime. PC’s only like Windows Media files. Sure, there are programs to convert them from one to the other like “flip for mac”, but you’ve got to know what you’re doing.
Specifically, what do you want to know?
mark
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Nick,
Have you tried Martin’s “Storage calculator” widget? It’s FREE!
Look at it this way. The “Big Time” is $40 bucks, but if you download the FREE storage calculator, you’ve received TWO great pieces of software for only $20 each!
Mark
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Are you sure that the clip is in fact IN your project?
If not, then it won’t show up. If that’s the case, there’s another feature called “Reveal in Finder” which will open up the finder level and show you where the actual clip lives. THis is very helpful if you use a workflow where the digitized footage lives in a separate project. You can access that from a pull down menu.
mark
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[paul nevison] “particularly when moving title 3d clips around the timeline”
Make sure that your Boris 3D is upgraded as well. This is a third party program that doesn’t upgrade automatically when you upgraded the rest of the FCP studio.
We have had issues with title 3D when there is a ‘version” mismatch between the system that created the cut and the system that is on-lining that timeline.
Just a suggestion.
Mark
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Countdown,
Setting aside all this brouhaha about where levels should be…. I can confirm that we’ve had the EXACT same problem with the broadcast safe filter. Even stranger, we’ve found that the editor made an adjustment to “safe”, thought he was good to go, and then discovered that the “render” reverted back to the “hot” levels. In other words, the correction was made, but the results were luminence around 108 or 110. Double clicking on the offending clip showed the levels in the correct place. It was very frustrating, and resulted in one of our shows getting kicked back.
Yes we have outboard scopes, and yes we know what we’re doing. I’ve never had a show THAT far out of specs on so many clips. So… while I agree that you SHOULD be able to go up to 100, it really is much safer to tread the waters around 90 to avoid these kind of unpleasant experiences.
Mark