[Sam Cole]

International delivery specifications require an EDL with the masters.
No EDL means reject. If FCPX no longer supports EDL then we can’t use FCPX to create international masters.
One step forward, two steps backward.

Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia

[Sam Cole]

. . . the rumour mill strikes again

Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia

[Sam Cole]

Go to

Final Cut Pro > Audio/Video settings > A/V devices

and uncheck “different output for edit to tape”

Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia

[Sam Cole]

[Craig Seeman] “I just can’t see many reasons to shoot DV.”

You get a lot more on a card?

Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia

[Sam Cole]

I understand your grief but can I just say that prior to the ‘tapeless revolution’ I have experienced shooting a days work and finding that the tapes would not playback – disaster!

But with the technology today, on a ‘critical’ shoot you could use the SxS card AND an outboard device like the nanoflash recorder; then you have the lifesaving ‘backup’ – albiet at a cost. But if you have been bitten once its definitely food for thought.

BTW
I remember years ago when we had a 1″ portable field recorder. It was possible to incorrectly lace up the tape and then spend the whole day shooting only to find that it would not playback.
So we invented the “ILS” – “Idiot Lacing Syndrome”. The technique was to lace up the machine, record a min of bars, spool the tape off and relace. If the tape played back OK there was a good chance it was OK but, if it didn’t, then either of the two lace ups was wrong, and relace again until you determined which was the correct and stay with that. Ok, an old-timers story from days gone by.

Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia

[Sam Cole]

In a world where less and less people care about the ‘technical’ side of television I can understand Bob’s feelings. Its like his career is slipping away.
I remember the days when we use to put Bars and Tone at the front of every tape. Nowdays we get tapes from television networks with audio levels thru the roof, no bars and tone, incorrect or no VITC, timecode disruptions and channel errors.
These things would be instant rejects if we sent the networks tapes with similar problems.

Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia

[Sam Cole]

Bob – we deal with these types all the time. It is a real education to them when they see what we go thru to ‘legalise’ their product before it goes to tape.
And then we send them the bill and they SCREAM!!!

But creatives are just that and to edit a show without concern for the technicals is a weight off their shoulders and more money for my company.

Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia

[Sam Cole]

. . . and remember if you have to ‘pan’ to centre the action you may have a problem with your on screen text.
When we supply international masters we usually place textless versions at the end (standard requirement) as well as the ‘english text’ for that very reason. It seems international distributors are also having 4:3 SD delivery requirements from our HDCAM masters

Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia

[Sam Cole]

Make sure you turn Airport off.

Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia

[Sam Cole]

[jon smitherton] “for those cheap progs where audio is done in FCP”

I am not talking just for ‘cheap’ programs.
When we edit doco’s we always send our audio to Nuendo and mix it in a pro audio suite.
But our producers want to preview rough cuts with good ‘guide track’ audio mixes. When you have half dozen effects tracks and music etc that you have to ‘dip’ for narration it would be so much easier to dip a single m&e rather than each track individually. Thats my main use for the feature.

Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia