Sean Oneil
Forum Replies Created
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It’s complete bullshit. It would require an incredible amount of time, money, and other resources (like the FCP source code) to compile it for a different operating system.
And if it did happen, it would be all over the blogosphere.
If someone had it running on BSD Unix, that would be a little more believable.
Sean
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Try PNG files instead of PSD. Since you’re not using layers, there’s no reason to use PSD. PNG is uncompressed and preserves transparency. Everything will run smoother and render 10 times faster. PSD files cause a tremendous strain on Final Cut, especially at that size. And in my experience Final Cut doesn’t handle them well.
Sean
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It’s takes a lot more computer horsepower to playback h264 than it does DVCPro.
Sean
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I feel your pain. Even in the Media 100 days they had a free read-only version of their codec that anyone could download and use.
If you don’t want to re-compress, you can send your client the DVCPro QT Components with a little note telling them where to place it (/Library/Quicktime).
Sean
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[Zane Barker] “MacPro Towers have 2 additional sata ports inside the computer all you will need is this.”
Just a warning, that solution won’t always work. The Mac Pro’s SATA ports don’t play nice with SATA-I disks. And they don’t support hot-swapping or port multipliers.
I like the Highpoint cards because while they are priced similarly to Sonnet and Firmtek, most of the Highpoint cards support RAID-5.
Sean
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You don’t use either if you’re going to replace all the footage anyways for the online. You can use DV25 or OfflineRT Jpeg.
When you create your offline movies and your Animation movies, make sure the timecode is the same for both. It’s probably a good idea to assign reel names to them as well.
Sean
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I somewhat disagree with your philosophy that “it’s always a good/bad time to buy.” Sometimes there are important milestones and this is one of them.
Sean
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I’ve heard that as well. What I didn’t realize was that the new technology making them bigger is also making them much faster.
Sean
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I found out what’s happening, and it explains why you guys haven’t re-created it. BTW, I just tested it on two other machines and re-created it on those as well.
Here’s how you re-create it. Set your Easy Setup and video output to AJA or Blackmagic ProRes NTSC. Now create a ProRes PAL sequence (I usually have “Prompt for Settings on New Sequence” turned on so it’s easy to do this). Import any audio file, place it in the PAL sequence and you’ll see a green line through it and the duration will be incorrect.
The opposite is also true. Change your Easy Setup to ProRes PAL, but create an NTSC sequence. Then import any audio file, and you’ll see the same problem.
Looks like Final Cut assumes what playback speed imported audio is supposed to be based on what your Easy Setup is during the time you import the audio file.
The good news is that now that I know this, it can be avoided simply by making sure the Easy Setup is set to what I need at the time I import the audio files.
Sean
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[Ken Peltan] “the only option that the film studios are willing to give us for our offline edits is at best DigiBeta. Therefore, and again I repeat unfortunately, we have no other option.”
You can capture Digibeta at 23.98 with any Kona or Decklink product. Don’t know about the other studios, but I get Digi masters from SPE all the time. They always have clean cadence and the A-frame starts at the even second mark like it’s supposed to.
You don’t even have to capture it in 23.98. You can capture in NTSC and then run it through Cinema Tools. In fact, that’s probably the best option.
Sean