Misha Aranyshev
Forum Replies Created
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[Mark Raudonis] “This sounds like exactly what you’re trying to accomplish.
“He also wants to have these multiclips in the Viewers to scrub and edit from there to the timeline. I guess dragging the multisequence to the Viewer and hitting Command-F10 instead of F10 should do that, though I can’t check it right now,
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Digibeta is cleaner, better colors and less compression artifacting comparing to IMX. Digibeta is 10 bits per channel. Imx is 8 bit.
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[Thomas Yong] ”
Plus for the purpose of final mastering e.g. adding titles, credits, adding visual effects, adding the mixed sound, I was thinking to move to an Inferno suite or something similar”Supposedly Inferno can read FCP XML.
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Audio I/O in classic Mac OS was handled by Sound Manager. Mac OS X introduced much better multichannel audio architecture – Core Audio. It took FCP quite a while after Core Audio introduction to take advantage of this architecture because it had to wait until QT team make QT talk to CA. But when it finally did it was cool. There is Core Image image manipulation architecture in Mac OS X. It handles high bit depth and different color spaces much better than legacy code in QT. Again it will take time until QT and FCP fully use CI. There is Core Data architecture in Mac OS X and there is plenty room for metadata in QT file structure but only Apple programmers know when this two technologies become mutually transparent.
In theory QT movie can store not only the reel number and timecode but also what FCP project it was created in and by what copy of FCP on what Mac and many more. Then Core Data can be used for managing this media. And it would be available not only to FCP but for any Apple or third-party application. That’s why I don’t want to see FCP getting its own closed media architecture. Duplicate effort and bad interoperability.
The only bad part of this is while greybeards and NeXTies were figuring out who’s the boss MXF become a standard and deservingly so.
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[Martin Roe] “What does FCP gain from not having its own database and not taking a more proactive hand in managing its media? “
Shorter developing time. QuickTime is good tech. Mac OS X data nad metadata handling is good tech. FCP developers don’t have to spend time building the whole thing, they can build on top of existing tech. The problem is QT is Old Apple, Mac OS X is New Apple. They still don’t play along very well years after NeXT acquisition. Just like Avid and Digidisign.
When Avid started back in the eighties there was no QT or affordable UNIX with usable GUI so they had to come up with OMF.
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[Martin Roe] “s there any chance that FCP might do a media storage set-up like AVID, where it makes copies of what you import and stores them and their metadata in one safe, proprietary place?”
I hope it never does anything like this. What I hope is the feud between QuickTime greybeards and NeXTie’s at Apple is over one day and QT and Mac OS X start working together as they should.
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You might want to take a look at Traffic and EDL Mirror. Not exactly what you’re looking for but useful tools for a FCP online editor nevertheless.
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Yeah, and since the clip on V1 is continuous you have to lock V1 for ripple on other tracks to work
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Capture the original EDL with plenty of handles. When the revised master comes to you move you online one track up (Command-A, Option-Up Arrow), drop the revised master on the now empty V1, set you sequence to the Filmstrip View, zoom all the way in. Turn Autoselect off on V1, hit Home, hit V, step through every cut. When you come to the cut that doesn’t match the revised master trim it (U toggles roll/ripple, square brackets trim the cut). In case you don’t have enough media in a clip recapture it with longer handles.
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[Dylan Reeve] “don’t find the Avid interface to be particularly poorly integrated… But that’s neither here nor there I guess. “
A separate application just for importing an EDL that defaults to CMX340 and doesn’t tell you what it defaults to, doesn’t ask you to choose EDL format on import, doesn’t warn you that you’re importing the wrong format and hides the format setting in the last line of the last menu? OK, it’s been a few years since I used it so they might’ve changed it.
[Dylan Reeve] “It did occur to me that the effects tab could be torn free, but I assume it still won’t apply to a clip until it’s loaded in the Viewer?”
Correct. Sync set to Open will load the current clip from timeline in the Viewer. The problem is as soon as you go to the next clip the effect tab snaps back to the Viewer.
[Dylan Reeve] ” To me that sort of thing just seems like fundamental media management functionality. I still find the overall paradigm of media in FCP to be hugely clunky. “
“Clunky” was the right word back in QT 4 times. With current version of QT reconnect based on TC and Reel info is possible. You just have to ask for it very loud.