Nick Meyers
2
Premiere Pro Coins
Forum Replies Created
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you’d know if it was the 2G limit.
it would get to 2G stop and throw up a warning, in my experience,
or maybe not even start? it;s been a while.*was* the file over 2Gigs?
FCP OMFs are generally pretty stable, IMO.
it may be the problem is on the other ends?
does this guy know what he’s doing?nick
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MARTIN:
“I’ve never missed it myself or understood why it’s so crucial”a couple of thoughts:
once in a while you might want to go back to a freeze, and chose another nearby frame.secondly,
they might be worried about what will happen in an online?
how will the online cope with creating that freeze again without teh relevant info.it’s been years since i had this issue come up for me,
but i seem to remember there being no trauma,
and the relevant frame must have been captured.
(i’m pretty sure i would have match-framed and created the freeze from the clip, though)you guys (Martin and Walter) would probably deal with this quite often?
nick
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Paul:
“Of couse those of you gurus who’ve sold your souls to a maintaining a 1997 Key-Lost-Its-Grip application’s high profile could be expected to come out fighting for the old ways.
No offence, Its time for a change = codebase rewrite.”no offence taken here.
it really is about time FCP made a big leap.
FCP6 hardly warrants the new version#all we’ve been getting for years are little patch-ups
along with a dazzling free gift or two.its a big job, i know,
and writing a rock-solid foundation isn’t going to “Sex up” FCP as much a free new application.
but hopefully it’ll happen one day.nick
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dont know if it’s too late for this,
but 30P is a really bad format to shoot.
will guarantee the worst images, i thinkthis from Mike Curtis:
https://www.hdforindies.com/2007/04/ok-indies-listen-up-10-things-not-to-do.html
2.) If you want to “shoot a movie” on DV, shoot 24pA mode, or at least have only slightly bungled it and shot 24p. 30p is one of the worst frame rates to use. 24p doesn’t compress as nicely as 24pA, therefore doesn’t look as good. DV is already challenged enough, don’t beat up the little bruised kid any further. The catch is in the capturing, which leads to Item 4 in a minute.. -
i don’t believe there IS any “loss around the cuts?”
nick
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Chi-Ho Lee:
“Though, still match frame back to original media would be much welcome in FCP.”WALTER:
From the timeline, press F. That match frames the original clip into the Viewer.NICK:
Option Apple F will bring up the source file
Shift F will take you to the browser clip (IF the Master/Affiliate link isn’t broken)nick
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Jason, take a deep breath, and say to yourself:
FCP is NOT Avid!” I like to use my keyboard for everything, but why is it in fcp that if I overlay a clip from the viewer to the timeline it activates the timeline window”
cant answer that,
but i know what to do about it…in avid you use the esc key to toggle between viewer & canvas,
in FCP you use the Q key,
so make your edit, (F10)
Q back to the viewer“Like matching a still frame in the viewer to the orignal clip the still was made from, qiute simple but saves time!”
i hear you!
“Why can’t their be an effects window that shows up the effects on a clip when you select it rather than double cliking here there and every where just to see them.”
in general FCP is designed to be operated with the Keyboard AND the mouse.
that;s just the way it is.having said, that,
you can generally open a clip from the timeline by simply being parked on it and hitting ENTER or RETURN.from there you can Shift Apple [ (Square bracket) to step forward thru the window’s tabs.
Shift Apple ] will step backward.
but clicking on the “Filters’ tab is pretty easy, really.once you get used to the way FCP works, you’ll probably like it.
most people making the transition feel the effects side if FCP is way easier than Avid.cheers
nick -
in my mind the 7200 is overkill,
especially for the extra $$ involved.i have regularly run 2Hrs of DV off my Powerbook with a 5400rpm drive.
this is for screenings,
we export a self continued file to the internal, and we’ve never had a problem.cheers,
nick -
“Bins are good, but bins inside bins tend to be difficult to locate. ”
oh, not that difficult 🙂
i;d always work with AT LEAST al media on one bin
and al cuts in another.
if there’s a lot of media,
it gets further organised into scenes, or sequences.
i would then keep the RUSHES bin open in it’s own browser tab.
just Option Double click on i to do that.nick
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“I shoot DVpal and edit on a kona3 FCP suite”
“what i really want is to have something set up to crop on capture.”
“I’m digitising via Sony DSR1500AP, SDI.”so that’s either some magic in the Kona card (you could try the Kona forum)
or routing thru some other bit of hardwarenick