[Paul Escandon]

Yeah like walter said it’s best to use an Easy Setup that matches the footage you’re dealing with. It will also change your device control preset for you when you do that (should be firewire).

As far as checking the capture setting, just pay attention to the columns in your browser that show frame size and codec of the video. This should give you the information you’re looking for.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Yeah, there is a developer tool that Apple puts out called DVHSCap that lets you transfer the HDV stream directly. I had to use it to work with 60p footage from the JVC HD100 before Final Cut officially supported it.

Check out this thread where we talked about it: https://forums.creativecow.net/thread/8/962040

There are some useful links in there to find out how to use that program as well.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

My Macbook 13″ runs Final Cut pretty decently so I’m guessing the MacBook Air should have no problems processor wise of being able to run it. The biggest limitation is it’s lack of a firewire port. You’ll have to bring media to it via USB or transfer it over Wifi.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

This started happening to me recently. Trash your prefs. It fixed my problem and should fix yours.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

That’s really interesting. Do you have the latest AJA drivers? I would first make sure of that.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

I gotta say – these are questions that should have been dealt with in the pre production stage and planning of this show. If the producers wanted a non-interlaced look, it should have been shot non-interlaced. The fact it was shot in 60i tells me that that was possibly the plan from the start and so maybe that plan should be respected? Or, maybe there was poor planning?

In any case, there are a variety of methods to try to reduce the interlacing or remove it complete. You can simply use the deinterlace filter in Final Cut Pro but it might not give you the look you’re trying to achieve. Also you might consider Motion or Shake if you have them.

Keep in mind that you are going to lose resolution when you deinterlace, and depending on the method you use it might not look very good.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

The way an image looks in quicktime is generally going to be different than the way the same footage looks in Final Cut Pro. In the FCP Canvas, there are actually gamma calculations that are applied to the footage. When you view the footage in quicktime it will generally look a bit more washed out. If you’re not using a calibrated broadcast or reference monitor while you’re editing you really can’t be sure what the footage is actually going to look like when you’re done with it.

Maybe someone can add some more technical information to what’s going on in the FCP Canvas. It’s definitely not irregular though to notice a difference in quicktime.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Compressor should be on the first install disc with Final Cut Pro.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Unless you have a specific need to preserve the superwhite values (from 100% to 109%) then you can keep the setting to white. It’s totally up to you. It may not really matter depending on what your requirements are.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Those settings sound good to me. Unless you have a specific need to render as high-precision YUV and find 8-bit satisfactory, then I think you should have no problems there.

The motion filtering quality set to BEST is going to give you better renders if you’re animating movements or positions than if you had it set to NORMAL, so that’s good.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University