Michael Alberts
Forum Replies Created
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You should look into the Editors Toolkit products from Digital Juice. Hundreds of lower thirds motion backgrounds.
Michael Alberts
Ambidextrous Productions, Inc. -
If you plan on adding a video capture card make sure that computer has a PCI-X slot. Some of the low-end dual 1.8 models have no PCI-X. If you don’t plan on adding a capture card then there shouldn’t be a problem. $1400 is a bit high however. Check eBay for going rates on that model.
Michael Alberts
Ambidextrous Productions, Inc. -
Just buy a digital mixer. Every edit system should use a mixer of some type, analog or digital.
Michael Alberts
Ambidextrous Productions, Inc. -
I just had the same issue pop up yesterday while mastering a show for broadcast this morning. I tried to do an insert edit of some fixed audio but no matter how much I tried the audio would not lay down. This is DEFINITELY a BUG! This used to work just fine under FCP 4.5. I’ve tried doing inserts to our PVW-2800 and BVW-75 with no luck. I’ve also tried to get Insert editing with audio to work on our Digibeta, but no love there either. What really sucks is if the section you need to insert over is in the first few minutes of a one hour program. As Bill mentioned, the only option is to re-Assemble the entire program. No client of mine will pay for a second layoff, so I have to eat the time. Just another “Pro” feature FCP is lacking.
Michael Alberts
Ambidextrous Productions, Inc. -
Red 3.04
Michael Alberts
Ambidextrous Productions, Inc. -
“I don’t want to put titles(150 subtitles not just credits) in FCP because they will look terrible when it gets bumped up to digibeta.”
“I understand I could do everything in FCP but the quality is going to suffer.”
Someone has been feeding you some bad information. Why would the quality of the FCP titles look any different than the titles on a Symphony? Talking about silly and expensive! If you work in 10bit uncompressed in FCP the quality will be exactly the same as Symphony 10 bit. Just pull the Digibeta in via SDI though whatever capture card you want (Aurora Pipe, AJA, Decklink etc) and do the finishing title work yourself. We finish shows for broadcast and film all the time on FCP. For aspect conversions we use a hardware aspect ratio converter. However, if you don’t have that you can do all your work in FCP and render.
Michael Alberts
Ambidextrous Productions, Inc. -
What scopes are you using to adjust the blacks to 7.5%? Not FCP scopes I hope!
Michael Alberts
Ambidextrous Productions, Inc. -
Why not look at the Aurora Pipe Studio. http://www.auroravideosys.com It’s got all the connectors you mentioned: composite I/O, S-Video I/O, component I/O, SDI I/O and 4 channels of AES/EBU or 2 channels balanced XLR. It also has a feature that no other card has, the Interceptor. This allows any QT file on you computer (any codec including Sorenson, PhotoJPEG, H.264 etc) to play out to the NTSC monitor, just by playing the QT file.
We’ve got two edit rooms with the Pipe Studio and one with the Kona2. It’s a great mix. Also, the Pipe Studio is on sale right now. I’m not sure why people don’t consider the Aurora products when looking at capture cards. It’s the best standard definition product out there as far as I’m concerned.Michael Alberts
Ambidextrous Productions, Inc. -
If you do go the Image Sequence route, use QT Pro to save the files as a self contained movie file. It will join all the stills into one QT movie.
Michael Alberts
Ambidextrous Productions, Inc. -
In your case the exported frames from FCP (or any edit system) will be 720×486 at 72 dpi. That’s the resolution of standard definition NTSC video. There is no way around this. If however, you imported some high resolution still frames into FCP, those will retain their original resolution though the export process.
Michael Alberts
Ambidextrous Productions, Inc.