[Matt Larson]

I had a hard time getting used to J-K-L control on a MacBook Pro with your right hand on the trackpad and the left hand on J-K-L (you have to cross your hands) so I saved a setup with J-K-L remaped to 1-2-3 for when I don’t have a mouse handy.

And if I need to nudge something in the timeline +1 sec, once I hit the “+” the numbers act like numbers again.

Works great… alot better than hitting control+F9!

[Matt Larson]

I use AE for a lot of CC because of the Synthetic Ap Color Finesse plug-in that comes with AE 7 (which is also available for purchase as a FCP plug-in).

[Matt Larson]

in the Finder, click on the file you want to open in a different program and “get info” and change the “Open with” option to what ever you like. Then right below that is a button labelled “Change All”

[Matt Larson]

Thanks John. I was hoping I missed a menu setting somewhere that allows both to come over 1 cable. Looks like I’ll have to schedule some engineering time later this week to hook up SD-SDI afterall.

[Matt Larson]

[Bob Zelin] “Matt. You say you have a Panasonic 1400 VTR. Have you even looked at the back of your VTR ? Do you see where the SD-SDI output is? Do you see where the composite video monitor output is ? Is it just easier to type on the computer, than to pick your behind up, bend down, and look behind the VTR ? (My apologies to you if you are a student, and have never used a VTR in your life before).”

Bob – SD means Standard Def? I thought it meant Student Discount!

I didn’t think it was that unreasonable of a question to ask if a Pansonic VTR can play both SD and HD over HD-SDI since I have 2 Pansonic monitors that allow both standards over one cable. Not to mention the all-mighty Kona card does the same. As does my router.

It looks like I WILL have to “pick my behind up” take down a cabinet, roll out 3 Middle Atlantic enclosed racks, build a cable, and hook the deck up over SD-SDI.

I guess I should be glad it’s one cable and not 6 Component, 8 XLR, TC and sync…

[Matt Larson]

Not an expert on this, but I think @TV needs a new profile level for encoded video. When they added 640×480 support for iPod Video the encoding profile changed from “baseline 1” to “baseline 3”, so even if your video had all the correct bit rate, size, etc. if it didn’t have the correct profile it would get rejected by the iPod.

Again, similarily, the first software to encode it properly was Quicktime’s mysterious “Encode for iPod” setting. Once people started to figure out what changed, the new profile was updated in other software and then EVENTUALLY Compressor got updated. I think it took a while for that upgrade to come out. Check out ffMPEGX and VisualHub to see if they support it yet.

This is from the manual:
Video formats supported
H.264 and protected H.264 (from iTunes Store): Up to 5 Mbps, Progressive Main Profile (CAVLC) with AAC-LC audio up to 160 Kbps (maximum resolution: 1280 by 720 pixels at 24 fps, 960 by 540 pixels at 30 fps)

So it looks like the CAVLC is the new profile that needs to be supported.

Also note that 720p24 is supported, but NOT higher framerates. If you want to encode 29.97 video you are limited to SD….for now

[Matt Larson]

[Shayne Weyker] “Re: one subclip per interview approach: the interviews would be captured from multiple tapes, would that cause the auto-numbering to reset? Is there a workaround? I’m not concerned about being able to recapture later so using one reel # for all the tapes would be okay if FCP would let me.”

Auto naming is based on the sequence name, so that has nothing to do with reel#.

[Matt Larson]

The best I can come up with is to manually set an in and an out where you want it for each clip and then make it a subclip. FCP will automatically name your sublips sequentially (Sequence 1 Subclip 2, Sequence 1 Subclip 3, etc.) Once you have your subclips, highlight them all and export with compressor, or if you’d rather, choose “Batch Export”

[Matt Larson]

After running some tests, we shot the ad with the same camera settings (720p59.94, 30p with the shutter set at “half”) and it worked great.

We kept the foreground movement very out of focus and there is no noticible strobing.

[Matt Larson]

I thought I was in the FCP forum, obviously you HAVE checked out the Kona forum…