[Tom Matthies]

You might want to try going into the energy manager preference panel and make sure that it is set to “never” on both of the choices and also uncheck the “Put the hard disk(s) to sleep when possible” box.
Also make sure that all of your drivers are up to date as well.
Tom

[Tom Matthies]

It certainly do just what you described-it’s the basis for log & capture in FCP.
You can take media offline today and go back and redigitize at any time. As long as your footage has timecode and you put the proper reels into your machine, it will go back and find all of your original clips and redigitize them and you’re off and running just like the original project.
It might be a good idea to review the Media Manager and Log & Capture sections of your manual for more details. Whoever gave you this “advice” is dead wrong.
Tom

[Tom Matthies]

Thanks Jeremy. Actually that’s pretty much the way I was doing it as well. I was just wondering if there was an easier way to simply assign a track to two different outputs rather than a single one. I had been just duplicating the audio tracks and then reassigning the outputs, but the export/import method would certainly make for less tracks.
The reason I was trying to do this was to use the 3/4 outputs from the Io to feed a Tektronix audio level/phase meter without needing to DA the outputs. I got in multiple camera footage from a live concert that has several of the audio channels out of phase and I figured that watching the phase monitor would tip me off early that there are phase cancellation problems with a given clip before getting too far into the process. I guess setting up a simple calibrated audio DA would solve the problem and wouldn’t cost too much. I probably have an old Grass Valley rack down in the pile-where-things-go-to-die in the basement.
Thanks for the help!
Tom

[Tom Matthies]

I have a sequence, set up to output 2 channels of audio thru the Io-La. The sequence has 8 channels of audio, panned either left or right. This will give me a stereo, mixed output from output #1 & 2 on the Io. Pretty straightforward.
If I create a sequence with four channel output enabled, I’m looking for a way to, for instance, send A1 to both Io output # 1 & 3 and to send A2 to channel 2&4 at the same time. If I look at the channel assignment dialog in the mixer window, it only gives me the option to “send” each audio track to a single output on the Io.
I’m outputting a long program via Compressor right now, so o I’m locked out of the program and can’t access the help menu at the moment. Can you give a quick walkthrough of the procedure to output dual stereo?
Thanks,
Tom

_PS I hate late evening deadlines.

[Tom Matthies]

I usually use DV50 with good success. Good quality and a manageable file size.
I also question the comment that Beta SP is a 4:2:2 format since technically it’s an analog format and the sampling rate really doesn’t apply here. The output from the deck is analog. unless you’re using a BVW-D75 deck, a Digibeta, SX deck or another deck that has a built-in A to D converter that is. It is only converted to a digital signal when it passes through a capture card on it’s way into the computer.
Just my 2

[Tom Matthies]

Will do.
Tom

[Tom Matthies]

Nope, not Firewire.
When I capture on the Avid, when it batch digitizes,, it will jump from the end of one clip to the beginning of the next one and start to capture right away. When capturing with FCP, it acts just like its hooked up to a traditional VTR. It will shuttle through the disc until it gets to the next clip, park at the preroll point and then start to capture
I can’t imagine that this is the only way that I can capture through the HD-SDI cables. When importing through Firewire, it’s very fast and generally works the way it is supposed to. I’m just wondering why it works correctly on our old Avid Symphonys but not in FCP. There must be a “gotcha” involved somewhere.
Tom

[Tom Matthies]

The tubes aren’t as fragile as you might think. Most of the good ones are coated with a plastic shrink coating that enables them to really take a beating without exploding into a million shards of glass. And in the event that one does break, the coating contains the glass pretty well. No talent ducking the shower of glass.
We’ve beat on some Kino’s pretty badly and they can take a lot of abuse.
Tom

[Tom Matthies]

Not sure about this, but if you are installing FCP version 5 on an Intel Mac, it might not work. Version 5.1 was the first version that was “universal” to run on either platform.
Might be the problem?
BTW, you shouldn’t be installing a single seat license on that many machines either. FWIW
Tom

[Tom Matthies]

If it’s a constant noise and it’s not too loud, you can minimize it using Soundtrack. Look up how to sample to set a noise print and then use the reduce noise feature. I’m not in the program right now, and it might not be the correct verbiage, but it’s in there and it actually works pretty well under the right conditions. Un fortunately, unlike Dave above, I have had to deal with this problem.
Tom