Rob Tinworth
Forum Replies Created
-
Have you tried reloading the keyboard layout? (Tools/Keyboard Layout/Default (or userdefined))
Rob Tinworth
http://www.1021.tv -
The best thing to do – and this only really works if you don’t have other projects connected to that RAID and you aren’t mounting both of your RAIDS on the desktop at once – is to rename your second drive so that it has the same name as the first.
That way FCP doesn’t even know you’ve moved the files, as long as you keep the file structure the same.
If you have to change the name of the drive, reconnecting media clips works well, but I’ve found reconnecting render clips unreliable. I’d bite the bullet, crack open those 80 sequences, switch autorender on, change the render settings to Render All and leave it going overnight.
Rob
Rob Tinworth
http://www.1021.tv -
Yup, it’s painful in FCP. Which is odd – the keyframes for everything apart from Centre are easy to manipulate. And I’ve never got good results from the ease in/out shortcuts in the canvas.
I make the move in FCP as a linear move – ie lay all the keyframes. Then right click the clip and send to Motion. In Motion, F6 brings up your timeline, and the little purple diamond in the corner allows you to see the keyframes you laid in FCP. Right click on one your keyframes and select ‘Show in keyframe editor. Then lasso all the keyframes on the vertical and right click/interpolation/ease in.
Then either export as a new clip and drop into your timeline, or if you left ‘Embed Motion Content’ on, it will just appear in your timeline.
It’s a bit of a fiddle, but doesn’t take that long and the keyframe editor in Motion gives you a lot of control over the move, all in real (or close to real) time, depending on your setup.
Rob Tinworth
http://www.1021.tv -
You do need to bounce the clip to avoid smoothcam analysing the entire clip. But you don’t need to lose your tape+timecode info:
Match frame your shot into the viewer – your mark in and mark out should appear along with the shot. I usually give the shot handles in case I want to tweak later – but if there’s a really substantial shift in the framing I don’t do this, as it results in the shot being blown up more than it needs to be.
Export from the viewer (I have a folder named ‘Projectname/Bounce) and then drag from the folder back into the project.
By exporting from the viewer rather than the timeline you will keep the tape name and timecode info intact.
Rob Tinworth
http://www.1021.tv -
Peter – You should explore Motion. It’s great for manipulating the ease in/ease out on stills and generating text. The roundtrip from FCP is very simple.
Rob Tinworth
http://www.1021.tv -
and that render bar is always a good excuse to make a cup of tea.
Just working my way through your Color DVD – great stuff.
Rob Tinworth
http://www.1021.tv -
Looks like Avid are creeping closer to a world where we never render.
What I’d really like to see in FCP is background rendering. The first non linear system I cut on was the catchily named FAST 601 (later bought by Pinnacle, who were then eaten by Avid). FAST 601 had two great things going for it – it saved 100 times a second so you never lost anything (although it also crashed so frequently this feature was a necessity), and background rendering.
I can have Motion rendering an effect, while DVD Studio Pro is building title sets, while Compressor is rendering an h.264. Final Cut can anaylse smoothcam in the background. It can even render to different codecs in the background now. Why does rendering an effect still lock me out of FCP? What was the magic pixie dust in FAST ten years ago that allowed background rendering?
But I digress. It’s great to see a version of FCP where they’ve concentrated on getting the features that already exist working better.
Rob Tinworth
http://www.1021.tv -
The other thing you’re going to find is that the autosave takes an age, and interrupts you (every 8 minutes in my case) right when you’re in the middle of cutting.
My current project is 156Mb, and I’ve just gone through the same process outlined above of breaking it into smaller projects. I have one project for rushes, one for previous cuts and one for current sequences. Previous cuts is far and away the bulkiest, but it’s also the least used, so just pulling that out of the main project goes a long way.
When I’m splitting a project into smaller projects I create a new project and then copy the bins/seqs into that. Rather than Save/As and deleting bins. I think this may clean the project up a touch, or I might just be making that up.
Rob Tinworth
http://www.1021.tv -
Great in theory, but in practice I find editing longGop much more processor intensive and therefore much more painful.
I need to run some tests to make sure this isn’t just my setup, but my experience editing longGop XDCAM is that scrubbing through the timeline is like stepping back to 1991, or playing back from a firewire drive. You see a fraction of the frames as you scrub at high speed and it feels sluggish. As opposed to scrubbing through I-frame, which is like a hot knife through butter.
I’ve started throwing disk space at the problem, and now transcode anything that comes in longGop to ProRes.
FCP 6.06, OS 10.5.8, 2x3Ghz Intel Xeon, 5x750Gb striped eSata, Blackmagic Multibridge
Rob Tinworth
http://www.1021.tv -
Qmaster working OK here to. It will stop working every now and then, but I can get it up and running again by hitting ‘Stop Sharing’, Option clicking on ‘Start Sharing’, which changes it to ‘Reset Services’, and then starting it up again.
Rob Tinworth
http://www.1021.tv