[Mike J.]

Stop using 44.1 audio in a 48 timeline

[Mike J.]

I think you’re confusing Apples post Cold Mountain marketing and promotion with their workflow that was done without APPLEs’ assistance.

Walter chose to try Final Cut Pro. He’s just like that..trying new things. He’s a rebel and doesn’t appreciate AVID so much anymore.

They contacted APPLE for support from the very beginning. Apple was initially excited but felt they weren’t selling their product for major motion picture use and didn’t want the accoutability if the process or workflow wasn’t effective with a 80million dollar film. It was DIGITAL FILM TREE that stepped up and said, we’ll give the tech support you will need and it was DFT that demo’d their workflows and pitfalls for Walter. They were using FCP 3 for the film.

After the process worked out for Walter, he didn’t want to use AVID again. It was then that APPLE started the whole campaign – and finally made some of the changes that Walter had asked for.

Sources of the information:

Sean Cullen, the assistant editor – multiple public speakings – some are downloadable.
Walter Murch himself – again, public speakings

If you’d like to read the APPLE emails back and forth to Walter Murch, pick up BEHIND THE SCENE book on amazon.

https://www.amazon.com/gp/product/0735714266/sr=8-3/qid=1140906937/ref=pd_bbs_3/103-8966940-8803855?%5Fencoding=UTF8

[Mike J.]

This is fiction…Apple didn’t even support his use of it for Cold Mountain…they actually advised him against it in the beginning because they didn’t want the pressure of a 80 million dollar movie on their shoulders.

[Mike J.]

First look at your ouput settings in FINAL CUT… this has happened to me before when switching through different project of different codecs like DV and 8bit and 10bit.

FINAL CUT/AV SETTINGS/SUMMARY/VIDEO OUT (choose correct one)

[Mike J.]

Cinema tools reverse telecines to 23.98 and 24. Instead… do one reverse telecine with your footage parked on an A frame. Play only that clip back in your timeline… perhaps change the standard upper lower radio button as well..but just do test before you commit to doing them all.

Maybe the preferences are corrupt in cinema tools if you can’t choose 23.98.

[Mike J.]

Your output setting is wrong. You need to change it to the timeline settings of say… KONA SD NTSC 10bit or whatever you’re editing at.

[Mike J.]

First, stop looking for a button or plug in to do everything for you…

You’re talking about different things…

I would suggest you obtain muzzle flash stock footage…use google- it’s out there… and obtain a clip… USE FINAL CUT to composit that footage into your timeline.

3D hits of blood are done by 3d artists. Give them the shot you want the bullet hit in….and they give you a file that you composite over your footage in Final Cut Pro

I’m over simplifying…but this is how pro’s work.

Final cut’s power lies in the ability to edit and composite easily for an unbelievable price.

[Mike J.]

Actually… Color Correcting VHS footage will help. The color seperation of R G B gets farther apart from each other as VHS is dubbed. Removing color and adding contrast can make it look better.

In channels there is a chroma offset / channel offset that I believe can let you adjust the R G B a bit for a clearer merge of the 3 channels.

The noise is kinda’ always going to be there though.

[Mike J.]

Actually…24 fps and 30fps audio is the same speed. Each encompasses one second of time. What you are refering to is most likely…. film transfered to video which is now at the rate of 29.97 which is slower than your recorded audio.

You need to slow the DAT audio to 99.9% using the SPEED tool in FINAL CUT PRO, then sync to your video picture in the timeline.

[Mike J.]

Yeah..they’re off