Ron James
Forum Replies Created
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The most important thing is understanding the FCP worflow (that it’s not like Avid’s modal system). Are you able to try it or (even better) get a tutorial first, to see if you like the way it works?
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Just so you know…
You can also do it the way I do, which is to simply drag the adjusted filter from the Viewer filters tab into your Browser and rename it whatever you want and even file it away in a bin with relevant clips. Save as many versions as you want this way. When you need it, just drag it from the Browser onto your clip in the Viewer or Timeline.
God I love FCP!
(people really get sick of hearing me say that)
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And remember that HDV is highly compressed already, so the last thing you want to do is introduce MORE compression.
These are not stupid questions, by the way. :O)
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[no169no169] “FCP should really be able to flag the footage as anamorphic, so you don’t have to go through re-scaling processes manually in other programs which can get messy”
I think you’re confusing pixel dimension with anamorphic flags. You’re not “scaling” anything when displaying 4:3 as 16:9, just adding a flag that tells FCP to display it un-squeezed. And, as Tom says, you can capture it automatically flagged.
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It’s really hard to tell based on so few details, but my guess is your stills problem might be related to how your monitoring them?
Your other problem is probably related to breaking the Master-Affiliate relationship. Did you keep your project file as it was on the other machine?
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[walter biscardi] “That is very strange indeed. The largest project file I’ve seen is in the 100mb range for a really large documentary. No clue why just changing the version would cause a jump.”
You guys should talk to Noah Kadner. ;O)
I find it best to avoid upgrading mid-project. Try copying out sequences and media and pasting into a fresh new project to see if that reduces bloat.
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The trick is to NOT treat FCP like Avid. Proper workflow is everything and it starts from the first logged/captured clip.
Media Manager has incremented names for me in the past. You should check your MM settings.
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[Adrian Zehn] “Hmmmm…..
I’ve been using Fcp on broadcast projects for over a year now……
And while I’m not an “‘AVID’ is great, ‘FCP’ is crap” guy, the more I use FCP in a professional TV environment with mulitple bays and shared media as well as an offline / online workflow, I’m feeling “AVID” is much better at this, with fewer bugs…..
FCP seems fine if you are using one bay, and not doing a traditional offline / online process…..”
Wow, I get nothing but errors in Xpress Pro. I can’t wait to get back to an FCP environment where I rarely get one at all (working on projects with 150 hrs. of material from various sources, on multiple machines, even finishing on Avid).
Then again, I’ve been working on FCP for years, so I probably know the proper workflow and best ways of doing things.
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Don’t pay attention to the estimate. It only bases its info on what it’s calculating at any given second, so if it’s hitting a tough spot it will base the whole estimate on that.
Also, not sure how fast you need it to go, but you can do single pass instead of double and constant bit rate instead of variable.
HTH
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Sorry if I missed any details in your post, but I think the idea is you need to capture over the TOD TC breaks?
I had to deal with this recently b/c we shot multicam TOD, so the cam’s would sync. I simply set Avid to capture across the breaks and create new clips. Then, I made a bin with whatever the name of the tape was, opened my capture tool (set it to that bin, of course) played the tape and hit record. Avid went through the tape and created clips for every break. Timecode was perfect and all the cam’s synced. Of course, you get some junk clips where the camera might’ve rolled and stopped for whatever reason, so I just deleted those.
HTH