[Paul Escandon]

I’m using FCP 6.0.2 with Leopard for that reason (came with a new Mac) and I’m not having really any problems whatsoever. My Quicktime is still 7.3. I noticed people were having Colorista problems – I’m using Colorista and don’t have any problems yet… which seems odd.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
Adjunct Professor of Media – JPCU
—
MacPro Quad-core XEON
8Gb ram, ATI Radeon X1900 XT, 2TB internal RAID
2 20″ Dell UltraSharps + Matrox MXO & 23″ ACD

[Paul Escandon]

Check out page I-180 of the FCP user manual. It has a table of popular formats and data rates. DVCPRO HD 1080i60 is 11.75 mb/sec.. so you can do the math to calculate your project needs.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
Adjunct Professor of Media – JPCU
—
MacPro Quad-core XEON
8Gb ram, ATI Radeon X1900 XT, 2TB internal RAID
2 20″ Dell UltraSharps + Matrox MXO & 23″ ACD

[Paul Escandon]

I don’t think installing Tiger on a new laptop is an option. Apple has made it clear that they do not support operating systems on their machines that are older than the OS’s that ship with the machine. There is a document on Apple’s website about this – and it’s generally a practice you will want to avoid. As long as the Final Cut version are the same – you might be alright. If you do need to change one system, I would upgrade the system with Tiger.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
Adjunct Professor of Media – JPCU
—
MacPro Quad-core XEON
8Gb ram, ATI Radeon X1900 XT, 2TB internal RAID
2 20″ Dell UltraSharps + Matrox MXO & 23″ ACD

[Paul Escandon]

It’s Varicam by the way.

And it’s important to understand that no matter what frame rate you select with a Varicam, the tape is always being recorded as 59.94 and the camera is adding the appropriate pulldown. This is actually a good thing because it makes less madness when working with odd frame rates like 37fps with other more standard frame rates.

You can capture all of this stuff as 59.94 and you will simply see a difference in the look when you hit your footage that is shot at a different frame rate.

Or you can do a pulldown removal so that you can work in a timeline like 25fps – and make everything conform to that.

You should ask yourself some questions on how you intend to work with the footage (is the majority of the footage in one frame rate, what was the purpose of the other frame rates, what’s your intended output, etc) before you start capturing.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
Adjunct Professor of Media – JPCU
—
MacPro Quad-core XEON
8Gb ram, ATI Radeon X1900 XT, 2TB internal RAID
2 20″ Dell UltraSharps + Matrox MXO & 23″ ACD

[Paul Escandon]

I just checked my Kona 3 Control Panel and there is actually a field where you can add timecode burn in. That’s probably what it is.

Open your Kona Control panel and click on the Timecode tab. There is a Timecode Burn-In dropdown that you can set to off. Do that and hopefully you’re 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 – JPCU
—
MacPro Quad-core XEON
8Gb ram, ATI Radeon X1900 XT, 2TB internal RAID
2 20″ Dell UltraSharps + Matrox MXO & 23″ ACD

[Paul Escandon]

I honestly think it has to be your deck that is doing the burn in – as Final Cut Pro has no setting to add timecode like that unless you explicitly add filters and tell it to do that.

I guess there is a possibility it can be something in the AJA – but on my Kona 3 I don’t remember there ever being a setting to do this.

If you must, try resetting the deck to factory defaults.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
Adjunct Professor of Media – JPCU
—
MacPro Quad-core XEON
8Gb ram, ATI Radeon X1900 XT, 2TB internal RAID
2 20″ Dell UltraSharps + Matrox MXO & 23″ ACD

[Paul Escandon]

Correct – the 30″ ACD will not work as the device connected to the MXO – but if you happen to be using the 30″ as your workspace monitor and you hook a 23″ ACD to the MXO, there should be no problem with that.

As for acceleration – the MXO will not add any real time effects that you don’t already have. If you need to render without the MXO you’ll need to render with it. It’s purely for display/video out.

Oh, and are you sure you’ve set your timeline to Unlimited RT and not Safe RT? Safe RT will make you render in places where your computer can possibly handle it in real time with the orange bar.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
Adjunct Professor of Media – JPCU
—
MacPro Quad-core XEON
8Gb ram, ATI Radeon X1900 XT, 2TB internal RAID
2 20″ Dell UltraSharps + Matrox MXO & 23″ ACD

[Paul Escandon]

Yes, it will work attached to the second DVI port of your X1900 XT. This is how I have my system set up – except for the fact that my main monitor is 20″ not a 30″ ACD.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
Adjunct Professor of Media – JPCU
—
MacPro Quad-core XEON
8Gb ram, ATI Radeon X1900 XT, 2TB internal RAID
2 20″ Dell UltraSharps + Matrox MXO & 23″ ACD

[Paul Escandon]

It’s pretty straight-forward. Make sure that none of the audio tracks are disabled unless you don’t want those appearing in the OMF.

You only have a few options in the OMF export settings – audio bit rate, depth, and handle length (at least in 5.1.4 this is the case).

Final Cut improved their OMF export in version 6 to allow any keyframing you did to be carried over. If you’re on an older version of Final Cut keep in mind this data won’t transfer.

It might be a good idea to render a low res quicktime for the Pro Tools guy to load into his system. I usually work in HD but render a DV quicktime for the Pro Tools guy to work with here.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
Adjunct Professor of Media – JPCU
—
MacPro Quad-core XEON
8Gb ram, ATI Radeon X1900 XT, 2TB internal RAID
2 20″ Dell UltraSharps + Matrox MXO & 23″ ACD

[Paul Escandon]

Hmm… you might try setting the device setting to non controllable device and hit play on the camera to capture the whole tape. Since you say it may be a recording error and it’s only happening on one tape, there’s a chance this will work. There is also a chance that it might not be completely accurate timecode on the file if there were some dropouts… but if you can live with that it’s worth a shot.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
Adjunct Professor of Media – JPCU
—
MacPro Quad-core XEON
8Gb ram, ATI Radeon X1900 XT, 2TB internal RAID
2 20″ Dell UltraSharps + Matrox MXO & 23″ ACD