Shane Ross
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[Vince-Patrick Mitchell] “What would the ideal place for the proxy files to go? Same hard drive as the original footage?”
Ideally you should have your original footage archived on a separate drive than the media you are cutting with. If you lose the hard drive, if it dies, then you lose EVERYTHING. So first, have a separate hard drive for the camera masters. Have two copies of this…redundant backup.
THEN…if you want to switch from offline to online via a toggle, you can have one of those connected while you also have your proxies on a media drive. OR…you can copy those camera masters to your editing drive (third copy) and make the proxies as well, so you can toggle on the fly easily. I personally prefer that they be separate from the camera masters…in a single folder. Not buried inside the duplicate camera masters and hard to find…although that is the default location for them…oddly.
[Vince-Patrick Mitchell] “Would it impact performance if one would place proxy files elsewhere than original footage? “
Nope. Might be better…less media on that drive.
Shane
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Compressor, Media Encoder, Episode (but that’s the more expensive one)
Shane
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I haven’t used it in YEARS…nor have many that I know of. That’s why it’s gone I guess. Compressor and Media Encoder did better jobs. I only used it if I needed ancient codecs…like Sorenson 3, or AVI….from ancient clients.
Shane
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You know, after EIGHT YEARS, that plugin might be removed. I know several FCP Legacy ones that are gone, and only people who have Automatic Duck, the free version released at FCP 7’s demise can give it out..it’s gone from the site.
Shane
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This is the forum for the OLDER versions of Final Cut pro… For FCP-X, post your question here:
https://forums.creativecow.net/fcpx
Shane
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This won’t work exactly like it does in Premiere, or old Final Cut Pro. When Avid imports a still and creates media, it creates media at the project dimensions…so 1920×1080. If you do AMA like Michael suggested, then it will LINK to the still (like Premiere does), and you can use FRAME FLEX to do your moves. But that can be more difficult and limiting compared to using the PAN AND ZOOM plugin that comes with Avid. You’ll import the still, but using the plugin, it’ll allow you to point to the original, and apply better moves to it.
Shane
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What is the kHz of the audio you are syncing with? 44.1? or 48? 48kHz is the better choice, 44.1 will drift.
Shane
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Check all outputs of the deck on a monitor…if you can’t get a signal to the monitor, that’s the issue, not FCP. So swap cables…if that doesn’t do it, then it’s a deck issue.
Shane
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Just going to concur with the others so you know it’s solid advice. Conform the 25 to 24 (slow down) and adjust pitch. Make NEW masters this way, and then cut with those masters, or make offlines of those…whathaveyou
Shane
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10.8.5 might be OK…I recall the apps working until I updated to 10.9. But me being my paranoid self, and only using that MacPro for the FCS3 apps, I keep mine on 10.6.8, the last, fully supported OS…that was out when FCP 7.0.3 was released.
Shane
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