Matt Doe
Forum Replies Created
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It came out of the following situation. We have 2 offices, one in NYC and one just outside of DC. Our NYC office is all Avid and our DC office is all FCP working independently on different shows for different networks.
We are anticipating moving our NYC office over to FCP as one of our big shows will most likely move from DC to NYC to post its 2nd season later this year or early next. That show requires that they have access to the majority, if not all, of the first seasons footage/projects/organization.
We are basically stuck between two big shows each with mountains of data, one in Avid the other in FCP.
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For this next series you are going to work on. Couldn’t you take LTC run it through a Beach Tek box to feed the 5D/7D the LTC signal. Then in post use the AUX Reader to end up with clips with the correct timecode.
Also, I believe if you log and transfer using Canons EOS utility within FCP, your clips after import will have TOD code.
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I have 4 1TB Western Digital Caviar Black drives in my Mac Pro. One as the system drive, and the other 3 in RAID 0 software RAID.
Have had no problems with any of them to date, had them for over a year.
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Have you tried “regular” ProRes (ProRes 422)? Is the drive you are playing the file from nearly full?
Your specs should be more than enough to handle one stream of ProRes, I assume the h264 plays fine?
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I ran in to this problem a little while ago. I bought the Slim Blade Trackball from Kensington only to find out that it does not work with the MouseWorks software.
I returned it and got the Expert Mouse trackball and have installed mouse works with no issues on an Intel Mac running Snow Leopard.
Perhaps the problem lies with the trackball itself not being supported through Mouse Works?
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They could have also stabilized in post-production. There are a number of solutions out there for this. But doing it in post has its limits and major drawbacks.
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I believe the way to go is set FCP to output your sequence natively, 720 in this case. Then go in to the Kona control panel and set it to do a 720>1080 conversion. Letting the Kona hardware handle the up-conversion rather than the FCP software.
This is the process we’ve used at my company to output to HDCAM with a good deal of success, minus the frame accuracy issue, which we have yet to find a real fix for aside from trial and error.
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Could Qmaster be enabled? If so, other machines on the network could be accessing your machine during compressions and the like.
Download iStat Menus. Adds system information to your menu bar so you can see which processors/cores are being used and by what, as well as network activity and a bunch of other information. It is a really great tool, I feel strange on a machine without it. Totally free by the way.
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How are you going out to tape, through a Kona card or the like?
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Sorry but I was not “a gentlemen trying to sell you software”.
You mentioned nothing about only wanting to use FCP in your original post; also nothing as to the amount of audio or any real specific information about your problem. I replied with a method I have used recently as a junior editor on a major broadcast production for Bravo.
Perhaps if you had more information in your original post…