Stephen Best
Forum Replies Created
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What frequency did you set the H4n to record at? 44.1, 48, or 96 kHz?
Regards
Stephen Best
https://stephenbest.ca -
David, further to your comment that,
“I know you clearly feel that wrangling a non-linear editing system like FCP should be right in your wheelhouse, but honestly, your frustration with FCP is simply misguided and just plain silly.
“Face it, not everyone in the world is born with the innate ability and know-how to troubleshoot professional non-linear editing systems. Going back over your posts through the years it certainly seems you’ve had troubles with every one of the NLEs you’ve owned…”
I first began using non-linear editing systems when Premiere was the only non-Avid system on the block, and 9 gig hard drives were $2,500 a pop. I’ve used Premiere, Canopus, Sony Vegas, and now Final Cut Pro and, you’re right, none worked as advertised.
I have become very adept at “work arounds”. However, it’s been almost 15 years since the NLEs became endemic. Wouldn’t you think that by now the wizards would have been able to make things work, as advertised?
My particular quibble with Apple is that they sell their products to be machine specific. None of the Windows software NLE companies require that. So, if Apple has control over both hardware and software, and still can’t get it right, it would seem to me it’s for them to solve the problem not users.
In the short term, with deadlines looming the besieged editor needs a solution. But it is ludicrous in my view that Apple’s customers don’t make more of fuss.
Also as I say, Premiere CS5 works as advertised on my stock Apple system and FCP does not. How is it Adobe can create a working system and Apple can’t? Apple, I submit, is a poor vendor when it comes to its NLE offering, and we ought not make apologies for it.
As for my workarounds, I rarely now bother with tweaking machines–it’s a fools quest. I simply use another program that does work, and often mix Windows and Apple systems–Apple, Sony, and Adobe software–to get a production completed.
I’m not so much frustrated, as resigned to the fact that Apple is lousy NLE system vendor, and if FCP, as good as it is in theory, wasn’t the lingua franca of editors I wouldn’t bother with it.
Since its earliest days Apple’s promise has always been one of “no problems” because of its control over both hardware, OS, and software unlike the haphazard vagaries of Window’s systems with their myriad software and hardware suppliers. Apple has broken its promise, and should be held accountable by those whose trust has been betrayed.
Regards
Stephen Best
https://stephenbest.ca -
If my comment is “an ignorant thing to say”, it would seem no further information is required for you to make up your mind.
You may believe that users should have to take extraordinary measures, and seek arcane advice on forums like this, in order to make a piece of software work as advertised, I don’t.
It’s absurd–and ought not be tolerated by customers–that the latest version of Apple’s FCP installed clean on an Apple computer using the latest Apple OS and that exceeds all of Apple’s technical requirements doesn’t work properly, while another video editing program, not even authored by Apple, does.
But perhaps this is something you consider acceptable.
Regards
Stephen Best
https://stephenbest.ca -
I have the same problem as you. My system has two 3.2 GHz Quad Core processors and 8 GB of RAM.
Capturing from tape resulted in drop frames and FCP freezing. It didn’t matter if I was capturing from a deck or the original cameras that shot the tape. Sometimes a capture worked, but more often it failed.
The solution I found was to use Adobe Premiere Pro to do the captures. I have Adobe Premiere Pro CS5, and it worked without a hitch.
I don’t think the machine is the problem. Final Cut Pro is the problem.
Regards
Regards
Stephen Best
https://stephenbest.ca -
I was in your position. I’ve been using AE for years, and when I got FCP tried Motion. I don’t bother with it at all. AE is far more capable than Motion, so I couldn’t see any creative advantage for using it. There was, in my view, no value to go through the learning curve for Motion when everything I’d want to do can be done–usually better–in AE. Also, AE is the industry standard, not Motion.
Regards
Stephen Best
https://stephenbest.ca -
If it’s any help, I used Vegas and now use FCP. There’s nothing you can do in the FCP suite that you can’t do in Vegas and vice versa. The output will be the same, even though workflow is different.
I went to FCP because it is an editing standard. Vegas is not.
One advantage of Vegas is that it runs on PCs which are cheaper for comparable computing power than Macs. Macs, however, seem to me to be more stable than PCs, but modern Windows 7 systems are the most stable PCs yet.
My advice? If you’re working on your own productions and don’t expect to edit cooperatively with other editors, production companies, or broadcasters, Vegas will be fine. If you’re working with or for others, however, FCP will make life easier. Indeed, in some cases if you don’t know FCP you won’t qualify for editing jobs.
Regards
Stephen Best
https://stephenbest.ca -
FWIIW, I’m using two ViewSonic VX2439wm monitors. 1920×1080, they handle 1080p video. For color correcting, I feed the HDMI Out from a Matrox MXO2 mini to the HDMI In on the 2nd monitor. I calibrate the monitor with the Matrox software, and I’m good to go.
The monitors are about $260 apiece and the MXO2 about $450.
It’s not a $5,000 broadcast set up, but it gets the job done. Currently, I’m working on a project shot on XDCAM at 1080p.
Regards
Stephen Best
https://stephenbest.ca -
If it’s any help, I too do work for non-profit organizations and am a Vegas Pro veteran. I also confronted the same constraints that you have. I migrated to Final Cut Pro because it is the lingua franca of editing. Sony Vegas is a fine program, and I keep it for legacy projects, but its user base is limited so working with other editors can be a problem.
What I opted for was a used iMac 24, and I purchased new (still int the shrink wrapped box) Final Cut Studio, at about 1/2 the regular price. Both were bought on eBay. The total expenditure was less than $2,000, if memory serves.
Currently, I’m editing a 2 hour HD documentary shot on a Sony XDcam PMW-EX3. For storage, I use a 2TB Lacie Drive. I use a dedicated external drive for each project. For sound monitoring, I have two MA-15Ds from Cakewalk.
Is this an ideal “professional” set up? No. Is it good enough to produce broadcast quality HD documentaries of the work of small non-profits where it’s the story that matters more than the lighting, hair, make-up, and FX? Yes.
Regards
Stephen Best
https://stephenbest.ca -
Would that they would shut up. But, alas, it is not to be. I now use both Sony Vegas and Final Cut Pro. The fact is that it really doesn’t matter what software is used to cut a program–every high end program can do everything. But that is not the view of many clients. Also, if you need to collaborate with other editors, often having FCP expertise is an asset.
Regards
Stephen Best
https://stephenbest.ca -
Don, thanks for this. I’ll get the books.
As an ‘old’ editor who started syncing rushes and then editing on a Moviola, the ‘old hand techniques’ might be of some comfort.
I’m editing system agnostic–it’s the cut that counts–but I do think FCP will eventually be the last man standing. This is due as much to Apple’s brilliant marketing strategy of getting FCP into the film courses at almost not cost as it is to FCP being a decent program. Had Avid been more savvy we’d all be using it by now.
Regards
Stephen Best
https://stephenbest.ca