[Mark Raudonis]

Jason,

Unless you understand exactly what you’re doing, renaming your clips will get you into big trouble. FCP uses the “clipname” as the filename for all media management purposes. For example, what is the “REEL NUMBER” designated on your QT’s? If ” U1_VT-101-DV PAL” is the reel number, then you have a chance of referencing back to the original reel. If you have NO reel number, then the first thing you should do is add it to the correct column in the browser.

Be careful because changing the reel number in the browser does NOT automatically change the clip name at the finder level. There is a special key stroke to accomplish that.

To address your specific question, yes, you can rename your clips to reflect your project organization, but personally, I wouldn’t do it. That’s what the “comments” column is for!
I’d leave the clipnames as the reel names and then add all of your scene, take, etc. info to the “comments” column.

My best advice is to speak with someone who know’s FCP project management for your kind of work. They may have more hints and suggestions than you’ll ever get on this forum.

mark

[Mark Raudonis]

Justin,

I’ve found that Network deliverable requirements often do not keep up with current technology.

Your edl requirement is a prime example. We’ve found that if you discuss it with the network, sometimes they will accept a “sequence” file instead of an EDL. Obviously, this will give them much more info to go on, but then you get into all those pesky “versions”. As previously mentioned, EDL’s are primarily used to detect stock footage, and music cues. An XML output of the project is probably the best bet.

Another example of “outdated” delivery requirements is the definition of “acceptable” resolutions in “AVID” terms. Many people are now delivering shows editing with FCP from start to finish, but the guy who writes the specs at the network hasn’t caught on yet.

Mark

[Mark Raudonis]

[Conan Stott] “Im an avid user forced to use final cut for a job”

You’ve already got a chip on your shoulder. You’ll have a much easier go of it if you stow the anger and add some education. Take the time to watch some tutorials. Do a google search for “FCP Tutorials” and you’ll find TONS, most of them free.

Good luck.

Mark

[Mark Raudonis]

[Bret Williams] “You don’t like to press the search button? “

Brett,

I like the search button. I really do. But…if you’ve got to hit search, then you haven’t done an adequate job organizing your media.

In my opinion, you should be able to look at the file name and know where to look for it.

We’re handling almost 75 terrabytes of media from six different shows. Yet, I can still manually reconnect if necessary. Another reason for not being fond of the search function is that until Leopard, search (spotlight) didn’t work on X-SAN.

Mark

[Mark Raudonis]

[Martin Roe] ” miss Avid sometimes. Is there any chance that FCP might do a media storage set-up like AVID, where it makes copies of what you import and stores them and their metadata in one safe, proprietary place?”

Martin,

I’m trying not to be “too quick to judge”…. but what are you talking about here?

Do you mean media? Sequence info? What?

Mark

[Mark Raudonis]

Ok. So I’m not a scientist! 🙂 I stand corrected.

Highest/lowest, it’s still the most troublesome to reproduce.

Mark

[Mark Raudonis]

This is why you should NOT become too obsessive about folder structure. One big bucket is better than a hundred little ones.

We try to keep our media no more that 3 -4 clicks from root level. That way, reconnecting is a breeze.

Mark

[Mark Raudonis]

[Mike Procyk] “Even if it’s not out of range? “

Yes!

Red is the highest frequency color in the spectrum, and therefore is the hardest to reproduce.

https://www.usbyte.com/common/approximate_wavelength.htm

Next stop is “infrared”, but humans can’t see that.

So…if at all possible, avoid heavy use of red in GRFX or set design. You’ll be glad you did.

Mark

[Mark Raudonis]

Steven,

Wow! Now I know EXACTLY why my firewire ports have died. Doesn’t make me feel any better, but at least I know! Thanks for the reference.

Mark “Six firewire port repairs and counting” Raudonis

[Mark Raudonis]

Paul,

You’ve made your case to this guy, now move on and focus on other things. Nothing you can do now is going to change his mind… might even annoy him to the point of NOT choosing you.

File away in the back of your mind that even if you get the gig, this is how your communication with them is going to go! These kind of delays are going to cost you money. Either budget for them or have a plan in place to deal with it.

My guess is the minute you move on and book other work is the minute he’ll get back to you and need it done “yesterday”. Then you’re in a great position to renegotiate “rush” fees.

He’s delaying commitment because every time you call, he knows you’re still available.

Good luck.

Mark