[Rich Rubasch]

Basically things went pretty good digitizing from the clips in the bin. A few of them had to be rediged twice, don’t know why. Had a lot of duplicate clip names which I skipped.

In the 12 minute sequence, many of the speed adjusted clips would barf on the dissolve out. Sometimes the clip would reverse in the middle of the dissolve. I took off the dissolve, replaced the clip, put the dissolves back on and things were perfect.

Not real elegant I must say, and Avid just wins this workflow battle hands frickin down!

Rich Rubasch
Tilt Media

[Rich Rubasch]

I have been digitizing from the offline clips in the bin…once in a while a clip will say there is a duplicate and I have a chance to give the dupe a new name. FCP then digitizes two identical clips and you have to have them both on the hard drive or it becomes offline…even though it is the same video data. Not every clips does this and not sure why…no consistent reason.

Rich

[Rich Rubasch]

Wow two in a row…way to go! Solid…really, kudos.

Richster

[Rich Rubasch]

Walter, I have a project that I digitized 7 hours of beta footage. Most of the clips had nat sound so I digitized audio and video to a single file in the DVcodec for offline. Now, when I redig the video only for the online there is no way for me to delete the huge and long DV video clips from the audio because they are all in a single file. I thought of this after about 5 hours were digitized. Now I wish my audio clips were separate so I could delete the video DV clips after the thing is onlined and keep only the audio.

If only FCP had a slick consolidate that was as elegant as AVID I would have no problem consolidating the audio to small clips by themselves then batch dig the online video. I have the PipePro Studio and I wonder if uploading to separate AV files would actually cause sync issues.

There still IS a good reason to digitize to separate AV clips…FCP’s awful media manager!

Rich Rubasch
Tilt Media

[Rich Rubasch]

Did you scale it at all? Sometimes if you bump the layer a pixel vertically it can render with fields reversed. Did you slo mo the clip in AE? Was the clip interpreted correctly in AE (720×486 lower fields)? Is the slight jitter to the motion of the type or the original clip. What, if anything did you do to the original clip? Did you use a Photoshop file for type, or the text tool in AE or the Basic Text plugin on a solid.

So many questions, so little answers!

Richster

[Rich Rubasch]

Hey, Matt…now those rock! The 3-way color balance along with the gamma for highs and lows and it’s working great. How long you been building plug ins for FCP?

Thanks a million,

Rich Rubasch
Tilt Media

[Rich Rubasch]

Walter…why did you replace the Point 7s? I’m a big fan of them. Is it because they are not powered? What connnectors are on the KRKs?

Rich Rubasch
Tilt Media

[Rich Rubasch]

Would love to play around with it…looks good…except I get a syntax error when loaded…it comes up as a plug just fine but I get a red box in the sequence viewer with an error that just says Syntax Error.

Thanks,

Rich

[Rich Rubasch]

Are you viewing waveforms in the sequence? That can slow things down…how about clip thumbnails in the sequence? That slows things down too!

Rich Rubasch
Tilt Media

[Rich Rubasch]

The one in Photoshop will take the greens and ramp them towards magenta…in the FCP version the green slider just removes green…it is a subtle difference. Also, with the Photoshop version you can change the Highs mids and lows in one pass. In FCP you have to apply the effect for each area. Color Finesse allows for changes across the spectrum, along with a ton of other settings.

Anyone else?

Rich