Mark Raudonis
3
COW Coins
Forum Replies Created
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[Mark Fason] “i’m not sure if it would have any effect in an offline to online scenario.”
Renaming clips can be a disaster in an “off-line to on-line” scenario.
If you want to add descriptive info to the clip, the best place to put it is in the “comments” column… not the name!
Your clipname is the filename which FCP uses to find the clip. That should NEVER change… unless you want to spend hours figuring out why your media went off-line and “where did it go?”.
Mark
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Trying to use the classic “off-line to on-line” workflow with mini-DV tapes can be very challenging. The biggest problem is the timecode on your tapes. Unless you’ve been VERY careful with your camera starts and stops, it’s quite possible to have multiple patches of the SAME timecode. For example, 00;00:00 to 00: 01:30:00 and then on the next camera cut: 00:00:00 to 00:02;45 etc. This happens when you roll the tape over the “end” of the first clip and start over on “virgin” tape. The camera interprets this as the begining of the tape and resets the tiimecode generator back to zero.
So…. when you try to digitize this kind of tape, you will end up with multiple clips with the same code. Fine…as long as you get it in the system, you can work with it. However… if you hhave to go back and try to REDIGITIZE at full res, you’re in for one frustrating experience.
You can “restripe” the timecode by making a clone of the original with a new code… but that’s a pain.
I think the best advice is bring it in at DV resolution, and then discard what you don’t want. Any other approach is going to be very difficult.
mark
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Paul,
Not at the meeting, but not surprised by the “snickers” from the Avid folks. Look, if you want to use FCP, use it. There are plenty of people who do use FCP and get the work done.
As for the “permissions issue” and networked users, I think I’m qualified to speak to that. At our facility we operate a system that has almost 100 FCP systems connected via X-SAN. I can confidently say that we’ve never had a problem with someone “overwriting” someone else’s project. You’ve got to be RETARDED to do that! X-SAN can create a permissions system down to the file level that prevents that kind of stupidity.
Part of the problem is that Avid centric folks just don’t understand the concept that “projects” for FCP/X-SAN are irrelevent . In a sense, the entire X-SAN is your project. Media is kept in folders (so are sequences) and every one has access to everything. If you organize your media intelligently, the importance of a project is minimized. I laugh when the Avid folks say, “but Unity allows simultaneous users within a project”. So what! Even on an Avid, you can’t have simultaneous users on a timeline. That’s what it comes down to.
I don’t work in the film world, so I can’t address the conversion issue.
mark
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A stream of video is what’s recquired to display one full frame of video. So… if you have a picture in picture effect, you’ll need TWO streams of video to accomplish it. The more streams, the more bandwidth you need.
Mark
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A stream of video is what’s recquired to display one full frame of video. So… if you have a picture in picture effect, you’ll need TWO streams of video to accomplish it. The more streams, the more bandwidth you need.
Mark
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Follow your insticts… they’re rarely wrong.
If you didn’t want to sell, you wouldn’t have gone this far into the process. Do the deal. Then, step back and think about the next chapter.
Just my .02 cents.
Mark
PS, thanks for a rare glimpse inside what is usually a private, confidential process.
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Walter,
Yeah, I heard pretty much the same story. I was just being “fair and balanced” and not taking a stand on either one. But since you’ve already let the cat out of the bag, I would agree with you. We’re looking at the Tangents.
mark
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Sean,
There are two choices for control surfaces for color correction:
This one from JL Cooper: https://www.jlcooper.com/pages/mcsspectrum.html
And this one from Tangent Devices: https://www.tangentdevices.co.uk/
Both ain’t cheap, but if you’re serious about color correcting, you’ll want to add one of these.
Mark
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I’ve got one… I think it does AVR77! It’s been years since I’ve used it and it’s just sitting in my desk drawer. Contact me off list.
Mark
818 756 5100
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My advice is “Don’t switch horses in the middle of a stream!” FCP is quite capable of “finishing” a sequence in any resolution: DV to HD. Your suggested workflow is a recipe for confusion, unnecesary complexity, and inefficiency. Other than than that, it’s fine!!
You can bet that when problems crop up, your “Avid” editor will blame FCP for “not being up to the task”. It’s not the system… it’s the workflow.
Rather than spend all the energy and effort converting clips, media, and metadata, why not find a qualified FCP online room? You’ll be much happier in the long run.
Just my .02 cents.
Mark