Mark Raudonis
3
COW Coins
Forum Replies Created
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Herb,
In theory, that would work. The problem seems to be with projects that were started in 5.xx and then finished in 6.x. We’ve tried all kinds of combinations like your suggestions above to no avail.
Yes, we’ve reported this to Apple.
Mark
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[Jacob duus] ”
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Flavio,
I guess you missed my point.
Organize the media in a logical, clear way to start, and you won’t need to “search” anything. It will be obvious.
Mark
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Flavio,
Since FCP handle media MUCH more differently than an Avid, there is less need for these kind of “sifting” tools. Frankly, everything you’ve just described can be done at the finder level with NO special tools necessary.
“Projects” in FCP do NOT carry the same significance as they do with Avid. Therefore, organizing your media around a project like you would with an Avid is not taking advantage of the strengths of FCP.
We’ve been using FCP in a large workgroup environment, with dozens of shows spread over 50 terrabytes of data. In the past three years we’ve NEVER had need for a “media mover” program, but we’ve managed tons of media . It’s just NOT an issue with FCP.
Mark
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Herb,
That’s YOUR opinion. My experience has been different. People don’t “complain” about what’s working. Therefore, you get a bit of a warped view if all you’re reading about is complaints. Sure, there’s things that need fixing, but in the big picture, so many people would NOT have switched to FCP if it was in as bad a shape as some of the folks here are complaining about.
This situation is mirrored by our society at large. People that watch A LOT of TV news think that we live in a dangerous, violent society. Sure people end up dead everyday, but you’re much more likely to die in a car crash than be murdered by some drug crazed junkie.
Mark
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Accurately? Not gonna happen.
We call it “flying it in”. Essentialy, you’re finding the start code and the end code and digitizing that length of material. Reapplying the speed ramp and walking it in. We’v also found that sometimes if you open up the “motion” tab on the clip in question you will find a single key frame that is obviously out of whack. Delete that keyframe and you should be good to go.
This is where the “extra time” goes. Unless you’ve done this before, you’re not gonna know what hit you and you’re gonna spend a lot of time cursing the system. Please, take my advice and do some test in advance of your finish to see how YOUR SPECIFIC SEQUENCE translates.
Mark
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Guy,
As Tom points out, FCP is as accurate as the deck you connect to it. If you’re ONLY going to use RS-422 controlled decks for off-line and On-line, then you can be assurred of a fairly accurate transition. I say “fairly accurate” because you can bet that in a one hour show, with hundreds of edits, there will be some shots that are off. If you take the time to run tests, calibrate both input and out put decks then you’ll have a good experience. If you skip this step, you’re gonna be cursing the day you “had to switch” to FCP.
Finally, speed ramps, still frames, and in general, “non-timecoded material like GRFX etc” do NOT make the transition very well. This doesn’t mean you can do it, it just means you have to know the workarounds. Again, I would caution you to plan on more time than you’re used to to figure out these quirks.
Mark
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[msacci] “Boy is that an understatement! You really need to prep a project before going into Color. “
And… going out to a DaVinci for tape to tape is easier?
Come on. Think of what you’re replacing. So you have to “bake in” speed ramps and some effects. Tell me that is harder than going out to tape, and having to digitize to come back into FCP.
I just waiting for the comments about how “autobalance” doesn’t fix ALL of the problems.
Mark
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Andrei,
This is exactly what Compressor is designed for… distributed rendering. The new FCS 2 (Compressor 3) makes the process of creating a “render farm” very easy. We’ve been experimenting with it for the past week and have achieved some extraordinary results. We’ve also had quite a few random failures. The good news is that when it works, and if you’re hitting enough idle computers, your render times for DVD and h.264 creation decrease to next to nothing. In our case we’re harnessing around 30 G-5’s and what used to take hours is now minutes. We will unexplicably have random “hangs” where one “chunk” of process seems to get lost, ruining the entire process. Usually, a “do over” is successful.
Getting all thes computers to play nice with each other can be frustrating. There’s plenty of settings that you may not be familiar with, and then there’s the “IT” component of networking all the computers. Allow yourself enough time for testing and experimenting BEFORE you actually need to depend on it. Once you’re comfortable with the workflow, it really IS a giant leap forward.
mark
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[cofe] “can it be that you created the project originally in vers 5.1.x ?”
In our case, that’s definitely it. We’ve taken the same project BEFORE upgrading and it works just fine. Take it into 6 and we’re left with many, many clips unable to “shed” their unused media. We haven’t done the “6 only” test yet, but in our case there’s so many projects in the pipeline that once we upgrade, we HAVE to bring a lot of projects forward.
Mark