Spotcharlie
Forum Replies Created
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I understand that the media is accessible, which makes it possible for two editors to edit separately with the same footage. For instance on an Editor to Assistant Editor Level. Lets say I have my project and the client wants two cuts, cut A and cut B. Editor just finished cut A and is moving onto Cut B, in the mean time Editor wants Assistant Editor to export Cut A and make a DVD and a Beta Layoff. Can the Asssistant Editor open up the project while Editor is still editing cut B and do the export and Layoff? Also another example. Editor is working on a cut while working a tape comes through the door and Editor needs to keep cutting and Assistant needs to open the project and digitize the new tape into the same project. Is that possible, to write to the project simultaneously while the editor is also editing? Thanks for your responses.
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well then i guess i’m just lazy. and the stability of knowing that the program is doing it. What if there’s a project and 3 different editors are working on it and just one of them forgets to put a new piece of media in the right scratch disc, then you gotta track it down get to the right computer then move it to the right scratch disc, or FCP could do it for you automatically the first time you import it. I guess this is more of an issue for someone like me who works in an environment where one system is not designated for one specific editor who is responisible for all the meda. well we’ve beaten this horse long enough, i supplied apple with my feedback. i guess it’s manually copying things for now.
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Yes, essentially it is doubling your footage. But like me and many other post houses our media storage is separate from the main cpu storage such as an xserve, avid unity, or even just a raid connected to a single computer. So if you think about it, even if you drag a file from your desktop onto your raid it’s duplicating it to the raid, so you’re doubling it already. I’m just looking for simple way to ensure that when importing media it’s put it the correct place on disc. I don’t think it would be an unreasonable request, cutting down steps to take, and making it even more stable for multiple editors to work with the same media without having to worry what’s where and who moved it. The itunes analogy is a great one. All that i’m looking for is a checkbox in preferences to say “allocate imported media to scratch discs.” problem solved.
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so i figured it out. right in front of my face in keyframe assistant. there is a thing called exponetial scale. it takes your first and last scale key frame and fills in the middle exponentially. looks good and smooth now. I’m not worried about rights with google. it’s one of those crappy meeting videos for the new year. just to be seen at a meeting and that’s it. if anyone is interested just use google maps find the place you want zoom in all the way do screen grabs of each interval of the zoom control on the side of the screen. throw it into AE each still is 50% of the previous one, line up the edges so they match. parents them all to a null object. set the anchor point. set your first keyframe all the way out, zoom in to the ground set that key frame then select both keyframes>keyframe assistant>exponential scale. pretty easy and tight looking without the hassle of spending hours on lining up each shot. that took the least amount of time.
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I have parented them. I have like 10 stills. i scaled them all to fit within eachother then parent them all to a null layer. and use the scale of the null layer to create the zoom. everything looks great except the zoom since each layer is twice as large as the one on top of it, it takes longer to zoom the further out you are and less to zoom the closer in you are. the result is starting on your start still ie the world then on the next frame already being zoomed into about state level. The exponential zoom i created worked somewhat the zoom was all the same time length, but since there were numerous key frames it looked steppy. i’m still trying to figure this out, if anyone has any ideas. I know i’ve read stuff on here before about world wind and other stuff but i’m using all stills the detail is really nice in what i have built it’s just the actual zoom.
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I think i just solved it so don’t fret if anyone cares. I just manually key framed a zoom that is exponential by the same value of the scale between images.
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yeah i knew about the quick time stuff. i just thought maybe there was something i was missing in FCP. I usually use avids, but some clients request FCP. Just wish FCP was technically as solid as an avid.
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it worked thanks so much, and by the way that is the dumbest thing ever. to have to drag your sequence in. turned out everything was set up correctly but i just wasn’t dragging it, first time using fcp for more than little dv edits, i’m an avid and smoke guy myself. thanks again really.
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maybe i’m still doing something wrong. it’s still not working. one thing i’m confused about it that my project is DVCPRO HD 23.98 but no where on the kona or fcp output do i see 23.98. so my fcp video out is DVCPRO HD 720p59.97 my kona is set up to see that and to downconvert on output 2 to NTSC. i have control of the deck my edit to tape window still says preview disabled and when i click preview it says i’m trying to use a device at a different resolution and it wont go. again thanks for all your help thus far, i think there’s just one little thing that i’m not doing. please help
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do any settings need to be changed in final cut? thanks for responding