[Richard Dee]

I wouldn’t get too bent out of shape.

I’d bet Apple will support FW out in the future.

As mentioned- they just acquired it recently and are still getting

the main features in shape. In the meantime you can use it to learn

the app and get a rough idea of what it will look like on NTSC if you calibrate

your LCD.

Honestly when I first got Final Touch and started playing with the primary room,

I wasn’t too blown away. Once I really got into it’s features and secondaries,

I started to make great looking images, and even saved some poorly lit shots

by making them look quite decent.

By the time you are up to speed in Color – maybe a few months if you work hard,

it may have the FW feature, and if not you’ll be familar enough with your LCD

to NTSC differences to turn out usable images from Color – even though they are

not fully what they’d be if you could grade on a real SMPTE C phosphor monitor,

which is really what is needed anyway, Kona card or not.

[Richard Dee]

I could use a cheap HDMI to HDSDI converter to capture HDV to another codec as opposed to taking it HDV. I think the cheapest now is $900.

[Richard Dee]

you have not trimmed the clips I and O so there is some handles to actually overlap do a dissolve.

[Richard Dee]

I would suggest trashing all your preferences, and see if your clients show up on your desktop.

Seriously though – this topic is better suited for the Jobs board.

There are just so many FCP editors today that it’s heard to tell what is going on when you interview or send your resume.

In the old days – I would probably book 25%-30% if the jobs I applied for, and did develop some good repeat clients that way.

But today is is not uncommon for a job posting to get 200 replies, and hard for potential clients to even go through all the responses. You can try contacting them again in 2 months or so – maybe their last editor didn’t work out so well.

What I did was just start raising my rates, to seperate out clients just looking for schlock anyone who knows FCP could do. You dont want to be competing in the low to mid and arena anyway. Get the best work you can on your reel and charge alot. You’re asking top dollar- you must be good, right.

[Richard Dee]

Yeah Man, Apple’s ripping us off.

That’s why I stayed with FCP 1.0

I am not going to let the man stick it to me year after year with this upgrade garbage.

And David. BTW I really like your music alot. Are you ever going to reunite with Van Halen?

– Deadhead (editing an an agency today and running a temperature- so maybe I’m delirious)

[Richard Dee]

I need to get the 8 core machine to make me a better editor. I seemed to be working slowly all day, just thinking about caressing the innards of those steamy 8 cores.

How the hell do my clients expect me to work on this POS slow as hell quad 2.66?

[Richard Dee]

isn’t there a new Sony HDV deck that has HD-SDI out?

If so, wouldn’t this be the best way – to get it into the Kona and capture as

DCpro HD?

[Richard Dee]

Walter,

Can;t you set the viewer to “open” and click the filters tab, then any shot the playhead is over will open in viewer
with the filter tab exposed?

I seem to remember doing this.

[Richard Dee]

Walter I was going to suggest this to you.

WHile I have not played with any recent SA products, a clients system I used to use often had
the Color Finesse plug in and I thought it worked quite well.

Believe it or not I really do like the plug in route rather than a stand alone app requiring XML.

I h

[Richard Dee]

Hi Walter,

thanks for the info. I tried to capture the slow mo @ 720/60 and it wouldn;t capture (this was via HDSDI) Maybe I need to try via firewire.