[Noah Lydiard]

No I did not, but yes I will.
Thanks.

[Noah Lydiard]

Thanks Boris,
I upgraded to 7 and should be good to go.
Noah

“First they ignore you, then they laugh at you, then they fight you, then you win”
Gandhi

[Noah Lydiard]

Thanks for the help guys. I went with the first workaround. I’ll keep the second in mind for the next time.

Daryl, I didn’t digitize the footage myself. It was given to me on a drive. But I asked and no batchlists were used.

Am i going to see problems with my pull down cadence in online or is that something the Flame artist can fix? Should I give him the heads up?

Michael. Your “Big Head” spot is awesome. If you and the Spotwelder crew are ever lecturing on the workflow for that spot please inform me. I als osaw the look in a ludacris video. It is a trip.

[Noah Lydiard]

Well they are going back to telecine to transfer selects for the online.

Apparently they have a way of keeping track of the reels so that they can find the shots from timecode.

But I’m still concerned about the a-frame.

I’m coming to FCP from 7 years on AVID. Everything I cut formally originated on video.

Now that film is in the mix, I’m dying to find the best workflow.

Any help is appreciated

[Noah Lydiard]

Though I would like to know the proper way to do this, my transfer house said what they mean by a transfer list is “The Transfer Sort List or C-Mode List is a record of all timecode in’s and out’s. It’s source timecode only in sequential order.”

Which doesn’t seem to be an option in FCP.

Redflags went up for me before I started this – but I talked to two editors and a Smoke Artist who said don’t worry about my A-frame concerns or key code – because this wasn’t being finished on film.

So you’re telling me different. So whats the right course of action and if it is too lengthy to type can you at least point me in the direction.

And I really couldn’t care less about “harshness” although I do find it to be a waste of time.

[Noah Lydiard]

I have a floppy disc from the production company – assuming it has those files on them ( I can’t find out because nobody in the company has a floppy drive -) is this something that I can do post cut? Or am I doomed?

[Noah Lydiard]

I did multi take video shoot on an Avid by stacking the track. It takes lots of brainpower to keep it straight. The most I had was 10 tracks. I cut by watching each track, and then cutting and pulling the moments I liked down to the first track.

Once you stack it – don’t forget to dupe the sequence so you always have the original stack just in case.

I rec – having your producer get the Director out of your space for a rough cut or they will drive you nuts.

Unless the Director is paying you for the privelage of sitting with you for every decision – ask them to respectfully get gone and let you do your job.

Or, my favorite passive agressive mood, hand them the stack of FCP manuals and let them know that if they want to cut it – start with reading the manuals.

Just having them in the room to “massage” the cut is going to take enough patience – if they are really there for every second – you will likely want to kill eachother before long.

“First they ignore you, then they laugh at you, then they fight you, then you win”
Gandhi

[Noah Lydiard]

Thanks for your help everyone.
The A-mode tip really helps.
I’m going to sit down with my online vendors and work out a better work flow.
I would love to finish everything in FCP – but we do some effects work that is far beyond my ability. So working out an ideal workflow between FCP and Flame is key.

“?First they ignore you, then they laugh at you, then they fight you, then you win? ”
Gandhi

[Noah Lydiard]

Thanks Walter.

The Chicken is in the mail.

[Noah Lydiard]

Thanks Walter – The problem is going to Flame or Smoke. Is Auto Duck also the solution for those machines. I am getting requests for CMX-3600 A-Modes, but see ony the CMX 3600 opt in FCP – sans the A-mode suffix.