Phil Balsdon
Forum Replies Created
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Are you importing into FCP direct from the camera or from a copy of the card you’ve made on your computer?
The first version of the Canon plugin worked in FCP 6 but needs OS10.5 or 10.6.
Shane’s tapeless workflow will help https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
That’s in total enough for just over an hour of video. If you have a lap top and CF card reader with you you can transfer from a card whilst shooting on the other.
Choose a card that is fast enough for video. 400x or 60MB/s such as Sandisk Extreme. Other users I know use Lexar or Transcend successfully.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
My apologies, I thought these forums were where people could come and learn positive aspects about how to best use Final Cut Pro, ask questions and get help from experts, and where as well as learn I could contribute some of my 40+ years of experience to help those who want to learn.
I appear to have been mistaken, the last few days, on this and other forums, I’ve read so many negative and cynical reports from people speculating about a product that very few truly know much about.
I doubt Apple are going to ask people to pay for a product that’s only a little better than a free version, they’re much better business savvy than that. Apple use the fact that FCP is used to edit major feature films as a marketing tool to sell FCP to a huge market of enthusiastic film makers, they’re hardly going to destroy its appeal to this area by dumbing it down.
A little over 10 years ago the equipment to do what one of today’s most basic NLEs (even iMovie) can do would have cost millions of dollars. Never has their been so much opportunity to make and distribute good quality video as the present.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
If you want to find out more about FCP-X you’d be better off looking at some of the many videos on line from the supermeet presentation.
I don’t understand why you would think playing with iMovie 11 would be a preview of FCP-X.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
What you mean it’s possible for Apple to run the NFL draft through the App Store with free upgrades for each player? 🙂
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
More to point can FCP 7 do that?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
The beginning of the presentation of FCP-X Apple made a big point about the high end professional market users of FCP, Coen brothers etc. They absolutely have to make Final Cut Pro the best and most professional application out there for professionals, and the cheapest.
Why? Because it’s “the professional’s choice” label that is their biggest marketing tool – so that the wannabe users can feel like they are professionals because they use it. They also have to make it affordable for their most profitable market – everybody – otherwise iMovie would suffice, especially at the price.
I’m sure they’ve thought long and hard professional workflows and what professionals want. I suspect that things like auto white balance on import etc. are selectable, but it doesn’t mean the product is not “pro”.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
So far as I am concerned when all production equipment, be it edit suites or cameras is economically viable for everyone then the difference between a good production and a bad production will become obvious;- the talent and experience of the people using the gear. Corporations will pay more for a standout product and they will be well aware of what it takes to make the product stand out and why they need to make their product stand out more than their competitor’s product.
Fast food hasn’t sent every restaurant out of business just because their product is cheaper and faster, a lot restaurants survive very successfully because their is a profitable market in serving a quality dining experience to people that can see the value in paying a premium for excellent cuisine served in a wonderful environment by a friendly waiter / waitress.
If the new FCP makes it easier for novice users then it’s going to be super easy and faster for pros.
The sky is not falling chicken little!
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Hi Steve,
I normally export my FCP project as self contained movie with current settings.
I then bring this into Compressor for my final output file. This way Compressor isn’t dealing with the different layers, filters etc from a reference file when compressing. It seems to speed up the process and is useful if you need to create different final output versions.With a big project like yours I’ll also normally create a shorter duration version of the export from FCP with identical settings and use this as a test for quality out of Compressor, rather submit a huge file and find it wasn’t quite up to quality or file size expectations.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Film cameras have a shutter like a disc that spins through 360º. Half this shutter is covered and shields the light from getting to the film plane for half of its rotation. The purpose of this is for the film to move on to its next frame for exposure during the dark phase and put the next frame statically in place for its exposure. This effectively gives each frame a 180º exposure, in other words half the frame rate. (On more complex film cameras this can be changed).
Translated in DSLR or video this means you need to use an exposure (shutter speed) of half your frame rate (fps). So at 24p (fps) you ideally need a shutter speed of 1/48sec. This is not normally possible so 1/50th will be best and at 30fps you should use 1/60th. This is a very subtle effect, almost subliminal.
Choosing a shutter speed much faster than frame rate won’t necessarily give you smoother video, in fact if you are panning with a moving subject and have a lot of sharp background detail its likely the image will get a strobe like effect if the shutter speed is 1/400th or faster.
Another thing to consider is your frame rate when shooting under fluorescent lighting. If you’re in a country that normally transmits television in the NTSC system its likely fluorescent lights will have a cycle rate of approximately 1/60th second, you should look carefully at your image to see if there is any “flicker”, its likely 1/60th of a second shutter speed will be preferable to 1/48 even if you are shooting at 24fps. I’m lucky, I live in country were its PAL and everything syncs with 25fps and 1/50th sec. (except CRT computer screens, but lets not go there)
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/