Shane Ross
Forum Replies Created
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Are you exporting over firewire?
You cannot insert edit over firewire. Assemble edit only.
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If you are uding DV, then make it 720×480. And the typical countdown goes from 10 to 2.
As for how to replace the default one so that yours shows up in the PRINT TO VIDEO command…I have no clue. Just drop it onto your timeline and don’t have that option selected in the PRINT TO VIDEO command.
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You are going to have to set the FW device to UNCONTROLLED DEVICE and manually press play on the camera, THEN capture now.
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Create the countdown and drop it into your timeline…like you would any clip. I always build my timelines to include the BARS & TONE, black and slates.
And SMPTE doesn’t have a standard for countdown clocks. Only levels and framerates.
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[Pete] “No Bananas, tho, I know where I could put one for some smartass posters.”
Sorry…I thought a little humor would help. Even professionals joke around…
How about repairing permissions on all your drives? Then maybe tossing the FCP preferences to see if that clears things up. You can download FCP Rescue from here for free:
https://fcprescue.andersholck.com/fcprescue5.zip -
Capturing from what device? Camera? Deck? Banana?
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What is the audio rate of the AIFF’s from the sound house? 44.1k? Are the 48k 16 bit stereo?
What computer do you have. Funny that QT won’t re-install…
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Why yes Bob, that was me. That was an HD show that we cut for Discovery. And of course, Discovery owns the Travel Channel (I have cut a few segments of MADE IN AMERICA too…with the same company). It was intended for Discovery HD, but they like to re-run our shows across their spectrum of channels. I have even seen UNSOLVED HISTORY on Discovery Science.
Anyway. That was shot HD with the Sony HD CAM camera, with some of the footage shot with the panasonic DVCPRO HD prosumer camera (mainly the stuff on the beach with the Concorde fanatics…er…fans).
The footage was all downconverted to betasp for the offline cut, which we offlined on an Avid MC Meridian. We couldn’t do any fancy effects like blur dissolves or flash dissolves or Boris effects (the staple of our usual shows) due to the fact that we were onlining on an Avid Symphony DS HiDef system. I much preferred that. I don’t much care for the fnacy transitions. The owner of the company was the producer and he wanted shots to last on screen for a long time. He liked the slow beauty of it. One shot I recall is a shot down the isle of the plane, which is onscreen for 20 seconds. Just the isle and the stewardess’ legs. Couldn’t talk him out of that one.
Took about 6 weeks to edit then a few days to online and mix. Pretty straightforward cut. Started with one editor who had to leave and I was brought in to finish the second half of the show and smooth out the entire thing.
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Where are the source tapes? I wouldn’t pay a dime if I had the source tapes. The media might be lost on the drive, but you still have it on the source tapes…all you need to do is get the new drive and re-capture. I know it is time, but I wouldn’t trust media that had to be recovered. Might be corrupt or damaged in some way.
And LaCie should give you a new drive, if it is still under warranty.
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Highlight all the clips that are offline and then select RECONNECT. Once if finds one, it should find the others . But you say the relative path option is selected. Hmmmmm.