Michael Alberts
Forum Replies Created
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Or you could use the program AutoMotion from Digital Heaven. http://www.digital-heaven.co.uk. This is exactly what it was designed for.
Not quite automatic is using Title3D built into FCP. You can set a “Style” and do them one at a time. Not exactly what you had in mind I’m sure but it’s faster than doing it manually.Michael Alberts
Ambidextrous Productions, Inc. -
Why not capture it natively through Firewire? Are you trying to capture it into another codec other than DV50? If you insist on capturing through the IO make sure you’ve selected the proper Easy Setup to avoid any mismatches.
Michael Alberts
Ambidextrous Productions, Inc. -
Coming from a film background I was never satisfied with any of the early NLE systems. I purchased a SuperMac Video Spigot and Premiere v1 back in 1991. I even took a Premiere class at AFI that was taught by none other than Randy Ubillos. That bad boy ran on my Mac IIfx. It wasn’t until 1993, when I purchased my first Avid Media Composer that I felt a level of comfort when moving back and forth between the film world and video world.
Wishing for a cheaper alternative to my Avids, I purchased EditDV when the Sony VX1000 started shipping. I cut a few side projects on that system, even did a doc for Eddy Olmos. Regardless, EditDV blows. Never a very stable app.
While at NAB in 98 I saw a demo of KeyGrip at the Macromedia booth. I don’t recall if that was the same year Avid announced it was dumping the Mac in favor of an all Windows product line. Regardless, the writing was on the wall for me when it came to Avid. I had four Avids by that time and was tired of bending over for Avid’s business strategy when it came to it’s loyal users.
It was NAB in ’99 that I first saw v1 of FCP. I gobbled up a copy as soon as it became available. By version 2 I was almost confident enough in the product that I seriously considered switching my facility over from Avid to FCP. I managed to cut a feature film on v2, but it still had a ways to go in that realm. By that point most of our Avid’s were being brokered out by a rental shop here in LA and we went full hog into FCP. We picked up some awesome Aurora Igniter cards for all our realtime film digitizing and were using Film Logic for the neg tracking. Many people don’t realize it, but the Igniters were the first uncompressed 601 boards for FCP, and this was back in 2000.
From the Igniters we migrated over to the Aurora Pipe Pro’s (which by the way were the best all around SD cards for FCP bar none). Ever since FCP 5 we’ve been running on Kona 2’s and Kona 3’s. We bounce back and forth multiple times a day from HD to SD and all the flavors in between.
From a creative perspective we couldn’t be happier, and from a business point of view we’re certain we made the right choices every step of the way.
Sorry for the long winded post down nostalgia lane.Only 9 more days to see what the future hold in store for us. We’ve got high hopes for FCP Studio at this years NAB.
Michael Alberts
Ambidextrous Productions, Inc. -
DSR-45 will allow for this. No go on the 40. You can prestripe the tape on another machine if you wish and then assemble at 59:00:00.
Michael Alberts
Ambidextrous Productions, Inc. -
[Steve Kirby] “This is probably something really obvious”
Yes, this is something very obvious. Shift-S.
Michael Alberts
Ambidextrous Productions, Inc. -
[Chris Baldwin] ” I would love to get a brandnew intel based MacBook Pro but they are running pci express so they can’t read from the P2 cards”
Only the second to last model of the PowerMac G5 had PCI-Express. Previous to that it was PCI-X. Now, all MacPro’s come with PCI Express (or PCI-E). No Powerbooks or MacBooks Pro’s have PCI-X or PCI-E.
The older G4 Powerbooks came with a slot called PCMCIA (or PC Card slot). When Apple moved to the MacBook Pro line they replaced that with the much faster, more robust ExpressCard/34 slot.
If you want to transfer directly from a Panasonic P2 card you need one of several things: Either a Powerbook G4 (any speed) or MacBook Pro with a P2 Store or 5 slot P2 card reader. Both those Panasonic products cost more than $1600. You could also record to a Firestore and transfer directly via Firewire.
There is a company called Duel Systems that I spoke with last week that is very close to shipping their PCMCIA to ExpressCard/34 adaptor. It’s being beta tested. The Windows version is working fine, the Mac version has a few MacOS bugs that need fixing. No shipping date given, but I think it would be safe to say expect this at NAB.Michael Alberts
Ambidextrous Productions, Inc. -
How many people think tape is a long term storage solution, raise your hand! Nobody. I thought so. I’ve got 1″ tapes from 20 years ago that are for sh#@#t now. I’ve got 3/4″ tapes from 10 years ago that are worthless. I’ve got regular and Hi-8 tapes from 10 years ago that nobdy can capture. We’ve been dubbing all our archived video to Digibeta for the last 5 years, but Digibeta won’t be here in 10 more years. How is it that tape is better archive solution than a digital file? At least with a drive if you want to archive to another medium it’s just a simple file transfer.
I imagine we’ll have to archive our digibeta masters off to some other medium in five years time.
HDV. Don’t get me started. We had to color correct a Discovry show that was shot HDV then bumped to HDCAM. There’s just no color in the image. Wound up going for a “look” because “normal” just wasn’t there.Michael Alberts
Ambidextrous Productions, Inc. -
Dan,
That’s exactly what I’m talking about. You can turn an individual clip’s visibility off by hitting Cntrl-B or right click the select visibility. If that clip is the entire length of the sequence FCP seems to want to render it during ETT, even if the visibility if OFF. What you generally have to do in that case is make a dupe sequence and delete the clip entirely.
I’m certain that is your problem.Michael Alberts
Ambidextrous Productions, Inc. -
Dan,
One thing you should check is if you have any clips with the visibility turned off. You might even have an entire layer with the clip visibility turned off. If this is the case FCP will want to RE-RENDER everywhere the visibility is turned off. This is when you see the second render window, during ETT.
You’ll render you entire timeline. Go into ETT mode and FCP will want to re-render everywhere the visibility is turned off. Makes no sense, but repeatable every time.Michael Alberts
Ambidextrous Productions, Inc. -
More than likely you’re talking about the blanking area of the video frame. This is always present. More so in BetaSP and other formats. You can easlity crop out that area by using the cropping tools of your encoder. You didn’t say what app you were using for encoding to Sorenson? If using Cleaner or Compressor just adjust the cropping. Simple.
Michael Alberts
Ambidextrous Productions, Inc.