[Tom Matthies]

I’ve noticed that a few of my Eureka plugins from FCP4.5 just don’t want to work in FCP5.
For what it’s worth…
Tom

[Tom Matthies]

FCP will not output timecode to your deck running with RS-422 control. The code you get on your dub will be whatever value the time code generator was last left at, or zero if you have just powered the deck up. If you need matching code on your tapes, you will have to pre-stripe (black) a tape at the correct time code. As mentioned above, you will not have to black the entire tape. Just pre-stripe enough to get you into your program material and then do an “assemble” edit at the proper time. I always build my timeline as self contained with bars/tone, slate countdown and extra black at the tail, especially when doing an assemble edit. I have a Sony UWV-100 and an Io LA and it works just fine doing this.
And…a black reference for all your equipment is the way to go.
Tom

[Tom Matthies]

I’ve been using a Firestore FS-3 for about two years now, and even though I always roll a tape for backup along with the FS-3, I haven’t actually had to use the tape for editing. Every DV project I’ve edited the last two years came off the FS-3’s HDD! Just drag and drop the clips into the Mac.
If you are concerned about matching Timecode, be sure to use the synchro-slave control mode to trigger the FS-4. I’m assuming here that the FS-4 has the same features as the FS-3. This will provide clips with the exact same time code as those clips on the tape.
As for syncing the cameras, setting the timecode to freerun and using the remote to start them in unison works well. The codes will be within a frame or so. Just make sure that you allow yourseld enough preroll when shooting time of day code.
Tom

[Tom Matthies]

I have six Lacies on my Mac here and have had (knock on wood) good success to date. I have recently added an 800Gb G-Raid when I needed more drive space for a project and am very satisfied with its performance so far…about 5 months now. And best of all it has an actual cooling fan!
Might be a good alternative for you.
Tom

[Tom Matthies]

I’ve been doing music videos yet another way for easy editing.
I take the music track and record it onto a Betacam SP tape, starting at a specific time code. I include extra runup before the track and also include timed “beeps” (2-pops) at the proper tempo before the track starts. This way, the groups preforming know exactlly when the music will start.
The trick for editing is I take the time code out of the Betacam playback deck and use it as a reference timecode into the camera. This way, the timecode on the camera original will exactly match the time code on the music track. Just make sure that you roll the reference track, allow it to lock up fully and then roll the camera, using the external time code as your jam sync reference to the camcorder. Every take of the video will have the exact time code at a given point in the music track. When logging, I make sure I have enough runup to the take to prevent timecode breaks while digitizing. It’s a little strange to have multiple takes on a tape with the same timecode (usually a no-no), but after getting used to it and naming the clips for each take, it works exceptionally well. The trick is to capture the clips one at a time and cue your tape to the start of a given clip. It takes a little more time than batch capture, but once you get the hang of it, it will go fast. The best thing is that you don’t need to buy an expensive time code slate or any extra equipment at all other than the playback deck.
If you on a wide shot and need a close up of the drummer for instance, all you have to do is note the timecode on the wide shot and go to the exact same code on an alternate take. I can do a rough cut of a video in a very short time without the usual Final Cut “stacking tracks” work around. I’m still running version 4.5 at work here so I don’t have multicam option. (I’m running Tiger/FCP5 at home however)
Anyhow, it works like a charm and is so reliable and easy to do.
Tom

[Tom Matthies]

I did an effect almost exactly like this. All I did was to duplicate the layers, blow them up slightly and offset them. Then what I did was keyframe my crops on the top layer. Just set your vertical crops to where you want the effect to start, add a keyframe, move the timeline to where you want it to end. Add another keyframe and then reposition the crops to the ending point.I added a few more layers for the multiple effects going at the same time. Rinse and repeat. Very simple and easy actually.
Tom

[Tom Matthies]

I use an FS-3 when shooting in the field, but also record to tape at the same time. The timecode on your clips on the hard drive and for your clips on your tape should be the same. You can use the timecode information from the original, captured hard drive clips to go back and batch capture from the tape. I use the synchro mode with my FS-3 so the code always matches on both the clips on the disk and the clips on the tape. I’ve doen it in tha past, so it should work for you as well. Once in a while, I get a clip with a small time code break, so captureing might take a bit longer on that clip as FCP attempts to make a separate clip. Otherwise, it works well.
Tom

[Tom Matthies]

What device/card are you trying to use to send to the Digibeta?
Tom

[Tom Matthies]

Worth a try! Thanks.
Tom

[Tom Matthies]

I would like to know about this as well since I’ve had this happen a number of times. It always happens after the red screen. In my case, I can usually reproduce it when trying to add a fade effect to to the beginning of a PSD on the top layer of my sequence. I get the same error messages and it seems to then corrupt the sequence. It will not open after that. I’ve had to go to the autosave vault and call up the last saved version to save my project. It’s very annoying since it seems to be a hit or miss situation.
Anybody got any ideas on this one?
Tom