Shane Ross
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I know it’s been two weeks, but here goes. The Ultrastudio 4K Extreme has MANY outputs, all hot. Meaning you can output SDI to two different monitors…and HDMI out yet another. You can have THREE external monitors if you want. So yeah, you can do that.
Shane
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You can’t rely on the interface INSIDE the editing apps to be accurate. Most are not. If you want consistency, to know what it REALLY looks like, you need an IO device (Blackmagic design specifically, as they are the ONLY ones that work with Resolve) and an external HDTV or broadcast monitor. The viewer in Resolve isn’t accurate at all, and I doubt that the ones n Premiere are either.
But I’d trust the player more than the editing apps. Then again, if you view with Quicktime or VLC, it might look different in both. And is YOUR monitor calibrated? If you post on YouTube and Vimeo…it might look different in both…watch it with Safari or FireFox or CHrome, and again, they might look different. MANY factors are at play here.
Heck, when I do broadcast work, what I see on my external monitor might not be what I see on my TV with Spectrum…they compress again. And what I see on my TV with Spectrum is different than what my producer will see on HIS TV with Cox communications. I once had a producer call complaining about the squeezing of the image he was seeing (black bars on top and bottom of the screen). He took a pic and showed me…”this is NOT what I saw in your edit room on your TV!” I took a picture of my TV, with no squeezing. “It’s your providor…not the video file. Mine looks fine.”
Shane
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[Ben Hunt] ” What is your vote – what’s the best software for the every day user?”
We are all ‘every day” users. I use Avid every day…others use FCX. This all depends on what type of videos you are editing. What are your needs, and what edit software best suits those needs. BTW, I don’t think Avid would be a good fit for your needs. FCX or Premiere are good ones. FCX is $300…and that’s the end of it. unlimited free upgrades. BUT, it’s very different from any edit software you’ve ever cut with. That being said, many swear by it….and say it’s VERY fast. If you can learn it, it’s your best bet. Premiere is good, but yeah, the constant need to pay every month. I have it, but don’t use it all the time, and paying every month $30 for it sitting idle is pretty bothersome. Yes, it might still end up cheaper than if I shelled out $1200 outright, but it’s just an odd thing to have payments going out when you aren’t using something. Like paying for Cable when you aren’t watching…for a car you aren’t driving…
Shane
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[Ben Hunt] ” Running FCP7 on a Sierra OS machine is iffy at best.
– TRUE. I AM PLANNING ON A NEW COMPUTER LATER THIS YEAR.”That won’t solve anything. It will, in fact, make things worse. FCP 7 was discontinued 6 years ago. The last OS it was fully functional on was 10.6.8. Every OS version that comes out after that makes it less and less compatible. Because Apple dropped FCP 7…doesn’t take into consideration it working properly with the new OS. It’s fully backing FCX, the latest version of it’s software.
[Ben Hunt] “Do other editing softwares have similar issues? Premier? Pinnacle? Vegas?”
Pinnacle and Vegas are PC apps, and I don’t know them. Who knows what the most current versions of them are capable of…I’m sure they will work. Premiere doesn’t have this issue, never did as far as I know, It has other issues, as all apps do. But not this one. FCX doesn’t have this issue. CURRENT versions of software can do this…the issue is that you are trying to work with OLD software. I suggest that you look at getting current edit software moving forward.
Shane
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This error typically pops up when you have stills that are over 4000 pixels on any side. FCP 7 doesn’t do 4K, and larger than 4K will choke it, especially on export. So you need to make sure that all your stills are under 4000 pixels. And that they are not CMYK color space, that too will cause this.
Shane
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Oh…get at LEAST 16GB of RAM, if not 32.
Shane
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[Charlie Ellis] “i have had lots of experience with editing softwares, so i know it wont be anything too new when i get it.”
Prepare yourself…it is unlike ANY other editing software out there. Completely different in the way it does just about everything. Which isn’t saying it’s bad, but I am saying it’s VERY different.
Any current Mac will run FCX no problem. Heck, even older macs run it no problem. Also know that the type of footage you will be working with might be a factor. 4K? Might need a Fast hard drive with Thunderbolt for speed in playing it back. AVCHD…will need to be converted, but FCX does that easily and in the background.
But yeah, that mac is fine.
Shane
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Well, typically this is done in one of two ways.
1) Merge the multichannel audio with the video BEFORE you start cutting, and cut with the multichannel audio.
2) Export an AAF and EDL of the cut with the 1 channel, and the audio house conforms with the master multichannel audio. But you said that it’s not quite lined up? Then a lot of tweaking will have to be done.
There is no way, that I know of, to link the audio automatically to the master audio if you cut with a guide track only. In all the stuff I cut, I cut with the multichannel audio grouped with the video…and put all tracks on the timeline, lowering the volume on the tracks I’m not using.
Shane
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Even OS 10.9 might be too new of an OS for full support. Full support for FCP 7 stopped at 10.6.8. Any OS beyond that doesn’t take into account the older FCS apps working fully. In fact, at 10.9, COmpressor and Motion break.
You might need to go back further, and possibly on an older system, to have a bug free system that reads timecode properly
Shane
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I do this often, mainly importing music, or using my SFX library, and adding some RAMPANT graphics.
What I do when I first get the drive is change the number in the Avid MediaFiles>MFX to “2”. This way, ANY new media brought in, or renders, are put in that new “1” folder. So when I send a cut, I also send the “1” folder that has the new media. I then change that bin to “3” because any new media I bring in will go in the NEW “1′ folder that’s being generated. And means I won’t send them redundant media.
Then I send them the bins of my cuts, and if they want the clips that accompany the new SFX or GFX, I send those in a separate bin as well. Thus far, worked fairly well. Any new “1” bin they get from me they rename on their end, or just empty the contents into their “1” bin.
Shane
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