Robin S. kurz
Forum Replies Created
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Personally, I already dared predict their demise within about two years tops a couple of years back and was already saying that what they were doing then (e.g. slashing prices, but not nearly enough) was already way too little, way too late. Of course at that point I didn’t realize that they still had a formidable cash-pile up their sleeve, which is arguably the only thing that has in fact kept them alive this long. Once that is used up (if it isn’t already), that’s pretty much it IMHO. But yeah, I agree I could see them being passed around for a while once they get there, a lá Media 100? I teach at various schools on the side, and barely any of the students or graduates even know the name, nor is it even taught (very seriously) at any of them. First major and deadly sign of disappearing into insignificance if you ask me.
We’ll see.
– RK
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[Craig Seeman] “I think an archival feature should be accessible to other software.”
How is it not? I hate repeating myself, but again: it is nothing more than a folder containing a 1:1 copy of whatever medium. There is zero special sauce involved i.e. anything keeping anyone from accessing it. They’re not .DMGs or the likes. Not even close!
[Craig Seeman] “So it’s my fault that I have four years of Camera Archives because Camera Archives seemed like a sensible way to back up Camera Master files ensuring their integrity?”
That’s of course rather jejune. Or should I ask if it’s Apple fault that you want to use a MAM that isn’t able to read completely open and non-proprietary data in return? In which case I guess, by that logic, it’s also their fault that e.g. PPro (still) can’t parse an FCPXML file? Yet another completely open format.
[Craig Seeman] “I’ll add that even FCPX can’t read any of my BMPCC camera archive masters predating about May 2014.”
But then you could always simply open the “folder” and import everything manually as any other media that you have copied from a camera to wherever, without any issues whatsoever. On the other hand I have no issues opening archives even from FCP 10.0 and there were no changes made to its “format”… which isn’t even one to begin with. Delete the .fcarch suffix and bingo… a folder like any other! I’d even venture to say, that that would be the first logical step to getting any MAM to read it, no? Unless of course it can’t read folders either.
[Craig Seeman] “Perhaps this is why MAMs don’t attempt this.”
Nope. It’s simply because they don’t recognize the suffix! Simply teach it that “.fcarch” means “folder”… BINGO.
[Craig Seeman] “Perhaps FPCX Camera Archives is a proprietary can of worms.”
That being where you’re sorely mistaken, as I’ve demonstrated above.
[Craig Seeman] “Is it my fault for Foolishly believe FCPX Camera Archives were an intended feature that would be useful?”
No. Just your fault that you don’t understand what a FCP X archive in fact IS and that you’re reading some evil magic into it that doesn’t exist. Then vehemently pointing fingers based on mere assumptions, speculation and conjecture.
Good thing I’m here to save you from your misconceptions! 😀
– RK
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[Todd Nystrom] “SD television uses Interlaced while HD television and computers use Progressive.”
Wrong. BOTH can be interlaced. Only standard SD formats (as in PAL and NTSC) were and will always be interlaced.
[Todd Nystrom] “Also 720×480 uses Lower while 640×480 uses Upper.”
Wrong again. There is no blanket rule. PAL will generally be lower (or EVEN) and NTSC generally upper (or ODD), but even then it can be different with the source material depending on the hardware that was used for capturing.
And again, it is only relevant if your original material was interlaced to begin with (which you still haven’t said) AND/OR the original material is 50p or 60p. Then it’s only relevant WHICH TV standard you’re delivering to, which also not have said. Oh well.
– RK
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This has to do with the rendered waveforms being incorrectly scaled into the window space allotted. Scale the window larger or smaller (left/right) to force a re-render/rescale and it will get better, if you hit a sweet spot. For something like that I would work in filmstrip view, where you’ll see much less of it, if at all. Have seen it often myself, yes, and have reported it. Always good to do the same.
– RK
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The question is if the media is 50/60p or just 25/30p? Or even i? Because if it’s 25/30p, then setting it to “i” won’t change anything to begin with. At least not as far as the video is concerned. TITLES are completely fps, resolution and p or i agnostic. They render in whatever type project they are contained in. If anything, they’ll be the things that look the best by far.
I also doubt that “extreme loss of clarity and high pixelation” is anything unusual or has anything to do with the field order (that makes no sense). It’s simply “DV“! It will look horrendous in comparison no matter what. And if your material isn’t 50/60p (i.e. double the framerate you’re editing in) or already interlaced, then you’re just making it that much worse by outputting it interlaced (which is your only option of course with DV formats).
And you can easily BATCH change all the clips’ field dominance in the info and settings tab btw. But again, I highly doubt that has anything to do with it. Unless of course you KNOW that a) the material is even interlaced to begin with and b) has the wrong dominance.
– RK
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Notice the “⌥” in there. 😉 (or maybe it’s not showing up right and I should have written it out as OPTION?)
– RK
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Sorry, but I don’t see how it’s in any way Apple’s responsibility to work their development around the abilities of others. Good thing they don’t, too. That’s like getting mad at RED for using their own codec that no one understands out of the box either.
In fact I don’t see why MAMs shouldn’t be able to access/read FCP archives, since to anyone other than FCP X archives are JUST FOLDERS. Try moving one to any Mac or PC without FCP installed and see what you get. The MAMs simply need to figure out the basic (non-proprietary) structure. It’s no brain surgery or big secret. Nor did Apple come up with the whole thing to begin with.
– RK
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[Craig Seeman] “It doesn’t support Camera Archives.”
Yes, we’ve talked about that elsewhere. For em it’s definitely something that should to be addressed, too. Even (or especially?) if that means that they the only MAM that offers that.
– RK
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I think you’re overlooking a huge portion of the feature set of KFP (or any other MAM for that matter). There are a lot of features of KFP that you couldn’t possibly cover with FCP X by itself as described.
[Neil Sadwelkar] “and can be transported around in drives.”
That being one of the many and biggest aspects i.e. advantages to using a real MAM. Not having to do that.
– RK
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[Sverker Hahn] “Surprising to have a new “PRO” application without this funktion, isn´t it?”
Which function are we talking about? Because I don’t see one that we weren’t able to show you an in-app solution for.
But if you’re referring to the lack of keyframing of the color board, then I’d have to point out that the keyframing of FCP 7’s 3-way wasn’t exactly “pro” or a substitution for a “real” color correction app either (hence the addition of Color). Far from it.
– RK
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