Richard Cooper
Forum Replies Created
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Hi Errol, Thanks for posting. I have never been impressed with Marshall Monitors. The main reason being, that I cannot seem to find a 7″ Marshall that has HD resolution… they are all 800×480. But I may have found my answer… see my next post!
Thanks!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Very small fan… and I would say that your Mac Pro will make way more noise than your Kona would ever make. The Kona is a non-issue, sound wise.
Hope this helps.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Gary wrote:
“When working with compressed audio the engine has to process the audio signal for playback, and when there is nothing in the timeline the processing jumps to the next edit point and begins processing, in this case since the video does not need processing- the audio lags behind because it does.”This makes sense Gary. The weird thing is that when I leave “holes” in my video time line the video actually starts to “lag behind” and not the audio. Maybe something to do with the audio sample rate and FCP confusion? At any rate, I no longer have these issues once I started working with Slugs to replace the “holes” in the time line.
Thanks Gary
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Hi Richard,
Yes this can be frustrating. The way to fix this is to put a “slug” on Video track 1 under everything.(Effects/video generators) Any time there is a “black space” on the time line with no media, the Kona gets confused. Just make sure there is a black slug under everything and you will see this go away. A pain I know, but once you get used to working like this, it is not a problem.Hope this helps.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
I would trash your FCP Preferences first and THEN, if that doesn’t solve it I would buy (and run) Disc Warrior (I think its $99… used to be anyway)
Just some info, yes for DSLR footage ProRes 444 is definitely overkill. We use ProRes444 when ingesting HDCAM SR via Dual link or ingesting RED footage when we don’t want to re-conform to RAW for specific projects, but 422 will give you everything you need for DSLR footage. Someone here, and I cant remember who, described it as putting 3 gallons in a 5 gallon bucket… you still only have 3 gallons…. hehehe
Sorry… back to your problem…. One of these should work if as you say, it works fine on other systems and used to work for you. Another possibility is a corrupted project file, which can cause all kinds of strange stuff in FCP.
Good Luck!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
So it sounds to me like mixing brands, as long as they are to “spec” and good quality brands is OK…. but definitely stay away from mixing RAM “sizes”. i.e mixing a 2 gig stick with 1 gig sticks.
Thanks for the info everyone. I will pass it on.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Just to add my 2 cents here… I use both 8 and 16 gig SanDisk Extreme cards with the 7D with no dropped frames, ever, while shooting in 1080p/ 24, 30 and 720p/60. I think if you stick with the SanDisk Extreme you should be good, whichever size you go with.
Just my experience, your mileage may vary.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Hi Ben,
I am afraid that there are no lenses that will give you that “smooth video zoom” I believe you are looking for. (by this I assume you want to do slow pushes or pulls typical of a standard “video lens”) These cameras are not the best choice if you need run and gun and / or “smooth zoom” capabilities. It really is a completely different style of shooting. If I understand your needs correctly, this camera may not be the best choice.
If I have misunderstood your needs I apologize.
Also consider that you will need an external monitor, or at the very least a good viewfinder line the Zfinder Pro to see what you are doing as well as a follow focus and rail system of some kind so you can keep your focus.
Hope this helps, Good Luck
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Ha! Yes I did mean “log and transfer”…Sorry.
I am in “Log and capture” hell right now with 20 or so HDCMAM tapes to “capture” so it must have been on my mind! Man I hate tape work flows now!Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Hi Dan,
All good tips thus far… Also BACK UP YOUR RAW DATA to multiple hard drives from the cards and make sure that you have the exact file structure intact (Put each card separately in folders named “card1, card2” etc.) FCP needs the file structure to be able to read and import/trans-code the files.
Also, make sure and bring the clips in as ProRes 422 through FCP “Log and Capture”. One caveat… While importing the clips DO NOT start messing around in FCP, looking at the clips that are coming in or looking at them in the Log and capture window…. This will cause random truncating of the clips with NO warning that parts are missing. It’s a bug and can bite you in the a*s. Once you start your import/trans-code just let it do its thing and don’t touch the computer. Will save a lot of headaches later on.Some people use MPEG StreamClip to trans-code but I have never tried this work flow…
Once you have all your clips in FCP as ProRes you will be good to go and should have smooth sailing from there.
Good Luck!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com