Shane Ross
Forum Replies Created
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Nope. Can’t.
Final Cut Pro is a Non-Linear Editor, not a video switcher. You need to get a video switcher that will take all your cameras and send the source to one deck…known as the LINE CUT. But it would also be wise to have each camera record to tape as well, called ISOs (Isolated).
FCP captures one tape at a timen then can tie them all together with the Multiclip function.
One input, one output.
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The capture card needs to go in the first slot…the one on top. Then your Ultra SCSI or fibrechannel or SATA cards go on the other ones.
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DVCPro 50 is good…as is 8-bit and 10bit uncompressed.
But most of this depends on how you output. What media format are you outputting to? DVCPro 50? Digibeta?
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[boydmcc] “4. I can import files from a CD into FCP as long as they are in a format that FCP recognizes.
At no point has copyguard been violated. “
No offense taken. But in this point, you are mistaken.
If you take any music, and “sync” it up with music, which means if you take any song and add it to your video, and you have not obtained rights to use that song with your project, then you are breaking the law. while it MIGHT be looked down upon less if you used it with family home video (although no less illegal, just so you know) it will be SEVERELY prosecuted if you use it on any project in which you made money.
Yes, you bought the right to HEAR the music whenever and whereever you want, but then using it in another way…i.e. adding it to video…is NOT part of the original agreement and in violation of the law.
As I said, while it is no you MIGHT not be sought after if the music is used on a home project of your kids Halloween adventures, it is no less illegal.
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Sorry, I don’t know…I don’t author many DVDs. I use iDVD, and when I hit BURN, then the option for speed comes up.
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Burn speed is determined by the software you are using to burn the dvd.
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FCP does not import OMFs.
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[Charlie King] “Believe me they paid dearly for that rougly 180 hours in 9 days.”
AH. Good.
It like when we edited a show (third in a series) with a certain style. Then the network comes back with the numbers from the first two and the demographic isn’t skewing the way they wanted it to. They wanted…needed, the younger crowd. So we had to rock and roll the cut (the footage and the topic didn’t call for it, but…OK), and gave us 3 days to do it…since the delivery date was the same. So 4 editors going day and night pulled it off…and we billed the client as this fell OUTSIDE the scope of the project…the last minute changes AFTER they cleared the initial “final cut.”
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[Charlie King] “I am not a new kid on the block. I was not at that time desperate for work. I just plain love a challenge. Nine twenty hour days later we delivered a finished product to the congress of the USA, and they bought it.”
If I was seeking a new client, or really believed in the project, then yes, I would accept the challenge. I often do this. It is the companies that have 13 episode series for major cable networks that pay HALF the going rate and want it done twice as fast that are the issue. And these companies are popping up everywhere. But, I guess the issue is that there is so many cable stations and so much content to fill, yet not that much money to go around that makes them do this.
I guess I should look at it as an opportunity for the young editor to get his break.
I don’t knock working for free or for a reduced rate, it is the consistancy of this expected work that gets to me.
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[Chaz Shukat] ” They expect a one hour doc edited in 10 days on a shoestring budget and we give it to them and it’s effin’ spectacular to boot! “
I refuse to work with those people. And yes, there are more than a few. They have NO concept of how long it takes, and how much skill and talent people bring to a project. They want it in 10 days, and they only have this low amount to offer, then they are going to get some new kid just starting out (or editor desperate for work) and they are going to get crud. Fast, Cheap, Good. Pick two. Currently I am allotted 4-5 weeks for a finished one hour doc. Plenty of time for rough cuts, re-writes and network notes.
As for the Demo reel…yeah, it is getting nuts. I used to tailor my reel for the job (OK, if I really want the job I still make a tailored reel specifically for them) but now I just give them everything. I have on my DVD, my narrative work, my documentary work, my commercial work…three 4-7 min reels of each. Then I have sections for full scenes, or full acts and other commercials so that they can watch what they want.
I am tired of this “Can you edit Pink Elephant” syndrome. It has gone too far. “Oh, you have? Great. Oh…but did you work in a blue edit bay? Tsk…only red edit bays? Sorry.”