Patrick Sheffield
Forum Replies Created
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They will indeed…
Patrick
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You can find a review here:
https://lfhd.blogspot.com/2007/08/review-caldigit-hd-pro.html
and here:
https://library.creativecow.net/articles/zelin_bob/dulce_sas_raid.php
Courtesy Shane Ross…
Patrick
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I must admit, I have had multiple editors sharing the same DVCProHD media over 100 baseT and Gigabit wired Ethernet (that worked better – less lag). But you’re not gonna do it wireless. We all edited just fine – scratch disk should be set to a local drive so renders are cached locally, but it was a very effective workflow. The lucky one who had the drives mounted on their system had no lag and those accessing via ethernet had a slight delay after pressing play before everything would start churning. We didn’t use any RT.
Patrick
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Well, Avid and FCP must exceed the number of users of all other systems combined by at least an order of magnitude…
Patrick
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What about the fact that FCP works the exact same way as the Avid? Thus works the same way as the MAJORITY of NLEs?
And the notion that the defining rule has nothing to do with a cursor, rather that whether you mark in or out, the frame onscreen will be in your clip. Nothing modal – no “if you’re marking in, the frame will be included, if your’re marking out, the ‘previous’ frame will be included”. I think many users consider the frame to be their cursor…
Patrick
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Again – emulating the tape based systems they were wooing editors away from…
Patrick
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For those who like how Avid does speed changes- which is a system where you have to create “Motion Clips” that are speed changed clips that you can then cut into your timeline – you can do the same in FCP.
Right/ctrl-click on a master clip. Select Duplicate as New Master Clip. Name the clip what you want (say something like “MyCLip 50%). Double click on it to load it into the viewer. Type cmd-J. Set your speed – say 50%. You’ve just created your own “Avid Style” Motion Clip. Now you can cut that anywhere you want in your timeline. Happy?
Patrick
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At least then I can drag it up to an empty video track (instead of the end of the timeline) do the time change and then trim it to fit the space in my timeline.
You can drag it to an empty video track, then lock all but that track (option-click on that track’s lock button), then do your business, trim the clip as needed, then option-click on the lock to open the other tracks back up and drag your speed-affected clip into place…
Patrick
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"The outcry amongst users that would occur if FCP suddenly started working like the old tape based systems means this will never happen."
While this may be true, it doesn't mean it's correct, or consistent
Well, it kinda does. The software is intended to be used. If it behaves one way – consistently and internally logically, to change it for no arguably good reason would be detrimental to the thousands of users of the product.
Your understanding of the “Outpoint” aside, FCP and Avid (thus most of the market) expect that when you press in or out, the frame onscreen will be part of the clip.
Patrick
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Just to weigh in here on the in/out logic of FCP – all tape based systems I ever used marked out on the frame past the outpoint, thus did NOT include the frame on screen in the edit. All NLEs I have ever used include the frame onscreen in the clip. No one I know of who didn’t use tape based editing would dream of NOT including the frame onscreen.
As to more keystrokes – I’m sorry – that’s just how you use it. While I was editing on tape, I understood the reason for the fact that I needed to shuttle past the point I wanted in my shot – it was because of the limited logic of the hardware. It did a subtract of the two timecodes to get a duration. If you marked in/out on the same frame, you had the same timecode, so a zero duration. So, they forced you to go past the point you wanted to end the shot because of the mathematics of a timecode based tape machine controller. There’s no reason in a software based NLE to make me move past the point I want in my clip to mark my out. And, to me anyway, the way FCP and Avid perform is totally logical and consistant, Mark In – you get the frame onscreen in the clip. Mark out – wow – the same thing. The frame onscreen is included in the clip.
If someone didn’t have the background of working on a tape based timecode editor, they’d never call for or design a mark in/out system that didn’t include the onscreen frame in the clip (like “the old days”). And these days, I have to think that us old folk that started back in the heyday of tape based editing are in the minority of NLE users. The outcry amongst users that would occur if FCP suddenly started working like the old tape based systems means this will never happen.
Patrick