[Mark Raudonis]

Check out “Final Touch” by Silicon Color. I attended a demo recently, and it was incredible. This program is designed to do exactly what you’re asking for.

https://www.siliconcolor.com/products/ftsd/ftsd.html

Did I mention it’s only $995.?

Keep in mind, these cheap tools are no substitute for an experienced, talented, and artistic colorist.

Mark

[Mark Raudonis]

You can easily use TWO FCP systems connected to a single raid. However, once you go above those two systems, you’re getting into a SAN (Storage Area Network) system. The complexity and cost increase signficantly. So, to answer your question, yes it will work for two. Your third stream (powerbook) would have to be transfered to the storage as a file transfer via firewire through one of the g-5’s.

You may want to consider digitizing at DV resolution rather than Uncompressed. If you’re already using DV as your aquisition format, you’re not gaining anything by using an uncompressed timeline (unless you have heavy grfx & other inserts). Do a test to see if DV is acceptable for your needs.

Mark

[Mark Raudonis]

[alex udell] “Remember, like it or not Avid is the accepted “Standard” when it comes to editing. Any major editing change they make to the editing topology effects the army of already proficient Avid editors out there. So radically changing what “works” for a different approach would probably raise a series of red flags.”

Here in Los Angeles, that standard is changing… like it or not.

I’m old enough to remember when a Grass Valley VP-141 driving 3 one inch VTR’s was the “accepted Standard”. Times change. Standards change.

Two years ago we were all AVID. Today, we’re all FCP/X-SAN. For the one hundred editors working here, the new standard is now FCP.

To suggest that the industry won’t favour FCP because an army of Avid editors fear change is missing the point. Change is driven precisely by those who don’t care about the status quo. There are too many advantages that FCP brings to the table compared to Avid to ignore.

Mark

[Mark Raudonis]

Rick,

We operate a 100 seat x-SAN/FCP system.

Sharing common media is NO PROBLEM! If you’re smart about how you organize your media, you can actually take advantage of the fact that FCP uses QT files accessible by anyone with just a quick time player.

Feel free to contact me off-list if you’d like my “Real World” impressions of X-SAN.

Mark

[Mark Raudonis]

Just got my new Markertek catalog. on p. 135 there’s a box made by Laird called “Time IN” which inserts timecode into your DV stream.

Model # LTM-TC100F $625.50

This might help in your situation. At least it’s worth checking it out.

mark

[Mark Raudonis]

Promax (one of the sponsors of this site) is a well regarded, full service supplier.

We’ve purchased a ton of equipment from them, and remain a satisfied customer.

mark Raudonis

[Mark Raudonis]

Here’s the easiest, cheapest, and maybe even best route to do this.

https://www.canopus.us/US/products/ADVC-100/pm_advc-100.asp

Once you get the hang of that and decide you like it, we can talk about separate decks, digitizing cards, etc. But if you just want to get your feet wet, go with the Canopus.

Welcome to FCP.

Mark

[Mark Raudonis]

Chopper,
As far as I know, there is no easy way to display “user bits” within FCP. As I understand it, “user bits” are NOT an auxilary TC, but a “user changeable” data bank that can hold words like “Cam 10” or “Team B” or 9/25/05″. This “word” is then available on every frame of video via the main timecode stream. The word does not change once you set it. So, I don’t know how you would use this feature in lieu of regular Timecode.

I think you may be confusing the two different types of code with “user bits”. There are two types of timecode: record run and “time of day”. With record run, you set the number where it starts (typically hour one) and it will add uninterrupted timecode until the end of the tape. “Time of day” is set literally to the clock on the wall, and then updates each new start point according to that time. This results in many “breaks” in the code. Many NLE’s choke on this kind of code, and so most people hate it. Others (as in your case), use it as a convenient way of syncing multiple cameras. This choice is made at the source (camera) and once set, can NOT easily be changed.

In your case, unless you have a slate or “Common marker” on all three tapes, you’re going to have to sync by “in point”. Good luck.

Mark

[Mark Raudonis]

Brian,

I feel your pain. We have an enormous amount of green screen interviews scattered throughout our shows. At first we were trying to use the keyer within FCP. As you can attest, we tried every setting, combination imaginable. Then we went looking for a solution. We settled on “Ultimatte”. https://www.ultimatte.com/products/product_mac.jsp

It’s expensive, but boy does it work! Usually, it’s just a one click solution for absolutely perfect keys. Even in worst case scenarios like wild frizzy hair, the Ultimatte would enable us to pull clean, sharp keys with VERY LITTLE muss or fuss.

Yes, the DV format is contributing to your problem, but at the end of the day, there are better keyers out there than the built in version shipping with FCP.

Good luck.

Mark

[Mark Raudonis]

Zeev,

Please return to Avid land. You’ll be much happier… and you won’t be wasting any of our time.

By the way, why don’t you post who you’re working for so we can let them know what a fine, upstanding citizen of the net you are!

mark