Matt Lyon
Forum Replies Created
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Yeah, the pref settings for these options are really unclear and badly in need of an update.
Basically, if you set the “still cache” too high (over 32%, IIRC) then FCP will not be able to set aside the RAM required. It will simply disable the still cache and not give a warning.
The solution is to turn DOWN the “application cache,” which will then let you set the still cache higher.
Matt Lyon
Editor
Toronto -
Hi David,
Have you read Dustin Lau’s article? It’s a good place to start for some tips on keyboard shortcuts.
https://library.creativecow.net/articles/lau_dustin/get_fast_in_fcp.php
I also like using a Wacom tablet … especially for the Macro keys. They can be huge timesavers for repetitive tasks.
I personally don’t do /that/ much “customization” … just a couple favourite window layouts and the odd keyboard shortcut (although most commands and tools already have shortcuts that work fine for me).
Matt Lyon
Editor
Toronto -
option-up arrow/ option-down arrow
It only work if the track is totally clear above or below the clip(s) being moved.
Matt Lyon
Editor
Toronto -
I would also imagine you can do this in Excel, but it is also beyond my know-how.
If I was doing this task, I’d probably throw all the clips in a timeline, then make a macro on a Wacom tablet that would step through each clip and delete a set amount of time from the head of each clip.
Keep punching the macro key until all the clips in the timeline are done, then throw them back in a bin and re-digitize.
Matt Lyon
Editor
Toronto -
All this article does is show the cluelessness of Appleinsider.
“Scaling FCP to Fit Prosumers.” — what does this even mean? Has everyone forgotten that FCP has been Prosumer since v1.0.
Does anyone remember the “DV revolution,”?!? FCP + Firewire + Canon XL1 was the killer combo that got a lot of people to switch. That’s a pretty Prosumer setup in my book.
Nothing wrong with that. The great thing about FCP is the flexibility and scalability.
All that these job postings mean to me is that Apple is thinking the current “look and feel” of the ProApps is getting stale and they are looking for a next-gen UI.
If these people are just being hired now, it will take YEARS for their efforts to make it into the products.
Just my two cents,
Matt Lyon
Editor
Toronto -
Sounds like a bug to me! I don’t think you’ll find a software setting that will fix this, so I guess it’s time to troubleshoot. Is it confined to certain machines, or certain projects? Can you open the problem projects on a different box and change durations?
Can they batch change the duration of just a couple clips? Maybe it is a problem with one or two media files in particular.
You should also probably try the usual things: update all the machines with the latest FCP patches, trash preferences, etc…
Good luck!
Matt Lyon
Editor
Toronto -
Oh hey you’re right! It is working fine on my system too. Strange that it is intermittent for you. But fcp sometimes seems to lose its mind. Maybe there are transitions or other overlapping clips on the timeline that are preventing the operation from working? Could you try copying the clips to a new timeline, batch changing the durations, then copying back?
Matt Lyon
Editor
Toronto -
Sounds like a fairly common pulldown problem. Is your source footage from a film telecine session?
Or it could be that FCP is trying to incorrectly ADD pulldown to the audio. Do you see a colored bar on the audio clip?
Matt Lyon
Editor
Toronto -
I’m pretty sure you can’t batch change the duration of stills. The quickest solution is to delete the items in question from the project, change the default still duration, then re-import.
Matt Lyon
Editor
Toronto -
What system are they using to do the conform? If it’s FCP, you can bring the project file, otherwise you might as well bring and XML and EDL to cover your bases.
Remember to clean up your timeline, as CMX 3600 EDLs only support two tracks of video.
But you should touch base with their online editor to make sure you get him/her the proper materials. I think they’d rather you bug them now. It’s better than bringing the wrong stuff and them having to waste time fixing problems. Most facilities have a standard document of their tech requirements; ask for it!
In addition to the shoot tapes and EDL, I bring a reference quicktime of the offline cut, with burn in timecode. I usually also put text slates on any shots that have speed changes/effects/etc.
I also make a spreadsheet with a list of all the shots with speed changes/effects, etc. In the list, include the program timecode in points and duration, so the online editor can quickly ensure he/she duplicates all your effects.
As for losing your color correction filters, I wouldn’t worry about that. They are going to regrade the whole show anyway, right? Their monitors are probably better calibrated then yours were, so you’re going to want to start from scratch anyway, methinks (and with the benefit of their colorist’s eye). You’ll have your reference quicktime on hand anyway to compare against.
Matt Lyon
Editor
Toronto