Shane Ross
Forum Replies Created
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FCP 3 came out when many people were still using OS9…and OSX was BRAND new. It was made so that it could work with the new OS, but not optimally. Many of us opted to use FCP on OS9. That FCP just cannot really access the resources in the new OS (or so I am told…I am not a programmer).
But hey, I am currently editing on an Avid running OS 9. It works, and it works well.
If you use the machine as an editing station, and you are still using FCP 3, then why upgrade? You gain nothing. If you MUST upgrade the OS, then it is time to upgrade the FCP version.
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Look at the Dell 2405. Larger than you wanted (24″), but with an online coupon it is $779 and has DVI, VGA, Component, Composite and S-Video ins. And barefeats rates it HIGHER than the Apple 23″
https://www.barefeats.com/lcd.html
I don’t think there is a 17″ cheap monitor with DVI and RBG ins.
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What extractor did you use? What format are the files?
It is best to use either MPEG Streamclip or DVDxDV to convert the DVD’s VOB file to DV/NTSC clips.
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Duplicate the sequence. Delete all the tracks EXCEPT for the ones used for music. Then export the EDL.
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[Kevin C.] “I upgraded to Tiger, not knowing that FCP would not work with it. Who the heck would know that??”
People who use FCP. Next time something big like a new OS or version of FCP comes out, ask for information here about compatibility issues, or the Apple FCP discussions. Get answers from people who use this stuff professionally, and dig and research and read lots of stuff before they upgrade.
[Kevin C.] “I was very pissed off, when the tech at Apple informed me. He did not seem to care too much. (In fact is seems Apple takes great delight in that)”
Please don’t equate the Apple Techs knowledge (or lack thereof) and poor attitude as the attitude of Apple. Employees SHOULD be the representatives of the company, but many aren’t and are only their for the paycheck. Apple cares…that employeee doesn’t.
[Kevin C.] “that’s the only way to break timecode right? if you stop and then start past last recorded moment.”
Or if you turn off the camera…sometimes this does it too. Not often, but sometimes. Most often it occurs when people review the last shot and stop the tape AFTER the image ends. Use mattes method and you will be fine.
[Kevin C.] “BTW is “timecode reset= breaking timecode”?”
Yes, that will do it too.And Matte, thanks for the update on recording over and over tapes. I guess I am still thinking Beta and Digibeta…those were the formats I used when I was shooting. Just carrying over those concepts. Thanks for correcting me.
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Hours.
If you use the 3-way color corrector then that will not require rendering. That is a real-time effect, no matter how whacky you go with it….unless you start stacking the 3-ways…then it will start to want to render.
It is when you start to add blur filters, film grain, scratches, glows that render times begin to bog down.
I am pretty new to this and thus far only rendered a 23 min chunk, with basic stuff (8-bit uncompressed HD) and it only took 2 hours. But I’m sure Walter can give you a better estimate.
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Look in the Bin where that clip is stored….scroll to the right until you get to the ANAMORPHIC column. uncheck it.
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Really? Books say that? In my experience that has never worked, as cameras do what are called ASSEMBLE EDITS, in effect. They just blow over what was recorded earlier. INSERT EDIT (these are post terms) means that you lay picture on exisitng timecode, and in my experience no camera can do that.
Hey, if FCP was doing it for you, why uprade to Tiger? FCP 3 is far mor powerful than FCE. Log and capture…keyframing…tons of stuff.
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Log and capture. This is really the only way to defeat timecode breaks. Or, if you don’t need timecode, capture using the UNCONTROLLABLE DEVICE setting and manually control the camera…but this is really a bad way of doing it.
And blacking a tape before you shoot does not prevent timecode breaks…all it does it make the tape more susceptable to dropout, as you are now recording over a used tape. When you shoot, the camera BLOWS OVER what is on the tape (including timecode) and records it’s own image and timecode.
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This isn’t FCP’s fault. It is most likely the way the camera shoots 16×9. Some shoot native 16×9, and squeeze the image, also known as anamorphic. Others simply use the 4×3 frame, and letterbox the footage into a 16×9 ratio…while it looks 16×9, it is in actuality, 4×3.
But, it depends on the camera. What camera are we talking about here?