Rob Grauert
Forum Replies Created
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Hey man, I was in this boat too when FCPX first came out, and kept suggesting that people should just stick with FCP7.
Then I thought about it and realized FCP7 is falling behind the competition. That’s why everyone was begging for a legit update! You can throw whatever you want into the Avid and Premiere timelines, and work natively. FCPX isn’t exactly doing that. You might say, “Well then switch,” but Steve Jobs did say, “This is going to be AWESOME,” which caused people to wait around.
You really need to listen to the podcast between Rich Harrington and Walter Biscardi, and try to understand it from the perspective of someone who built a business around FCP.
Rob Grauert, Jr.
http://www.robgrauert.com
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[Paul Nordin] “Many of us have been holding on by our finger tips dealing with poor support of new codecs and advanced workflows. Often that poor support has resulted in lost revenue from inefficiencies. “
[Walter Soyka] “Further, FCP7 is no longer for sale. What is Jason supposed to do if he wants to add another suite to his facility?”
Good points
Rob Grauert, Jr.
http://www.robgrauert.com
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[jason levy] “But what about next year?”
But see, that’s what I don’t understand. At my current job we’re still on Final Cut Studio 2, and how old is that?
I don’t understand what point you’re trying to make with that question. I understand all NLEs have their shortcomings, but is there something about FCP7 that’s causing you to lose money (or not make as much) and you desperately resolved right now?
[jason levy] “They don’t say if they are going to keep supporting fcp 7.”
Supporting it how? With more updates to the software? Beats me, but again, if what you have now is working, why do you need updates?
[jason levy] “What is your relationship to fcp Rob? How much money is your commitment to FPC worth?”
Not much money. Like I said, I don’t own a company. But I don’t seem to understand the point of this question either. Are you suggesting if you purchase something today, but later its successor is disappointing, you’re previous purchase was a waste or a bad investment? I would disagree with that.
And just for the record, I’m not trying to be a jerk. I completely understand I might not ‘get’ it because I don’t own my own company. But everyone seems to be a bit hysterical today.
Rob Grauert, Jr.
http://www.robgrauert.com
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[jason levy] “On the surface this feels like apple telling people like me (original fcp user, pro post prod facility) to go f myself. What about fcp 7?”
I’m really amazed how many people are acting as if this is the end of the world. Maybe it’s just me because I don’t own my own company.
You do realize that if what you had yesterday was working, it still works today, right? Just because FCPX is available, doesn’t mean everything you’ve invested in is now trash. What is with the need to instantly update? What is so urgent?
Plus, David Roth Weiss put out an article last week on how to prepare for this.
Rob Grauert, Jr.
http://www.robgrauert.com
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No. FCP can work with both Stereo and Mono sound.So that shouldn’t be the issue. I suppose it doesn’t hurt to give it a shot, though.
Rob Grauert, Jr.
http://www.robgrauert.com
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Weird. All I can tell you is FCP like .AIFF @ 16-bit 48KHz. Sorry :/
Rob Grauert, Jr.
http://www.robgrauert.com
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Can you bring it into Compressor and convert it to .aiff? FCP likes that more
Rob Grauert, Jr.
http://www.robgrauert.com
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David Roche,
It’s a shame you have to hear it from a ‘punk kid’ like myself, but NLEs are just tools. They’re not religions. Try not to be so sour 🙂
Rob Grauert, Jr.
http://www.robgrauert.com
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If the sound from the Rode was recorded onto a different channel from the onboard mic (eg. Rode on L Channel, On-board on R Channel), you can turn one of the channels off and pan the remaining channel to the center. And you’ll have to make sure you don’t import the audio as stereo either
Rob Grauert, Jr.
http://www.robgrauert.com
command-r.tumblr.com -
[Al Hotchkiss] “I just want to do a simple 640 X 480 video.”
What you should do is edit with Timeline settings that match your footage. That will minimize rendering. THEN export a video to 640X480. Do not set up your sequence as 640X480.
When you’re done editing, you can change your Timeline Compressor to a better codec to mastering.
ProRes and DVCProHD are good formats if you’re working with HD material.
ProRes and DVCPro 50 are good formats if you’re working with SD material.
Rob Grauert, Jr.
http://www.robgrauert.com
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