[Russell Lasson]

Just to add one more item:

https://barefeats.com/octopro5.html

-Russ

[Russell Lasson]

[David Roth Weiss] “Definitely octocore. Save money by buying the 2.66ghz machine instead of getting the 3.0 machine which sells at a huge premium. The 3.0ghz machines have a slight performance increase, but at 24% additional cost.”

The 2.66ghz is only a quad. The only 8 processor system is a 3.0ghz.

I’d go with the 8 processors because you can always add more RAM later, but you can’t just upgrade the processors. It’s a better long term investment. I think you’ll get better performance that way too.

-Russ

[Russell Lasson]

I’m not aware of anything that would cause it to change. You might try a smaller project with no transitions or FX and see if it still needs to render.

-Russ

[Russell Lasson]

Open the file in QuickTime on the home FCP4 system. Are there two audio tracks (do two EQs show up on the bottom right of the screen?)

It could be a QuickTime version issue. These programs weren’t intended to be completely backwards compatible.

-Russ

[Russell Lasson]

I would use the media manager to do what you’re trying to do.

First, place all of the tapes with the sections that you want to keep in a timeline. Select the timeline in the browser and select File – Media Manager.

Select Use Existing (or copy if you have enough room to copy, then you can delete the other files when you’re done)

Deselect Include master clips
Select Delete unused media
Deselect Include affiliate clips
Select Duplicate selected items and place into a new project.
Choose destination

You’ll want to test it with one clip before you do it to your whole project.

-Russ

[Russell Lasson]

What are you exporting to? Tape or a file?

If it’s a file, I would export it using custom settings in Compressor that will crop the top and the bottom. (just duplicate a setting that you want to use and change the crop settings)

If you’re exporting it to tape, you’ll probably just want to put a widescreen filter on your footage.

-Russ

[Russell Lasson]

I would just send color bars from the camera to the monitor. There are instructions in the FCP documentation on how to calibrate monitors using standard color bars.

If you’re really concerned about color on set, understand that the monitor is going to look different depending on what light is hitting the display. For example it will look different if it is outside on a sunny day then it will on a indoor studio set. In either situation, try to prevent light from shining directly on or near the display.

-Russ

[Russell Lasson]

🙂 I guess I need to read my typing a little closer:)

-Russ

P.S. Could you hand me that room over there too?

[Russell Lasson]

Do you have “Reconnect all files in relative path” selected when you start reconnecting?

I like to add a search location to the folder where the media is. It makes it easy to just hit “search” and let FCP do it’s thing.

-Russ

[Russell Lasson]

The best way to tell if you’re doing things right is to check to see if your reversed telecine clip has any interlaced frames in the image. If so, you didn’t remove the pulldown correctly.

Open up the clip in Cinema Tools. Go frame by frame for at least five frames. Are there any interlaced frames? Are any of the frames duplicated?

Now open the original clip in Cinema Tools. What is the cadence pattern (how many progressive frames and how many interlaced frames in a row?)

If this is confusing, look up 2:3 pulldown in the FCP manual.

-Russ