Tom Meegan
Forum Replies Created
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Make the time line active.
Hit Command – Zero.
Hit the timeline options tab.
Un-check Show Through Edits.
Do this for all previously created sequences.
Then…
Final Cut Pro > User Preferences
Time line options tab.
Un-check Show Through Edits.
This will make all subsequent sequences work the same way.
Tom
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FCP sends the whole frame through firewire when paused. The difference between the two fields that make up the frame causes the jitter. My guess is that your Avid monitoring was set up to send a field to the extermal monitor when paused. This is not an option in FCP, at least not that I know of.
Tom
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Make the time line active.
Park the play head over the clip.
Shift – F (Or View > Reveal Master Clip)
The browser will become the active window and the disclosure triangles will roll open to reveal the Master clip.
Normal auto select rules apply if there are multiple layers.
Tom
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https://www.amazon.com/Film-Editing-Room-Handbook-Third/dp/1580650066
The FIlm Editing Room Handbook
I don’t own this book, but a couple google searchs turned it up, and it looks like what you need.
Good luck.
Tom
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FCP will address 4 GB of ram, but if you might have other apps open, your system could use more. In general practice, 2 GB seems like an OK amount for most systems.
VRam/video card is going to become more important with the new FXplug filters. I would not skimp here, but you probably don’t need the highest end card unless you are doing mostly FX and motion graphics. Probably middle of the road is a good general choice.
A third party input/output card depends on what your acquisition and distribution formats will be, as well as how you want to monitor your signal. Are you mostly going to be shooting DV or are you going to be capturing from a HD SDI feed
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Here is a very good tutorial on this subject.
https://www.kenstone.net/fcp_homepage/pana_24p__cinetools.html
Tom
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If the glare is blown out (completely white,) there is no visual information in this part of the image to recover.
There are techniques to selctively pull the glare down a little without effecting the rest of the shot, but this doesn’t usually help much and definitely does not fix the the fact that you don’t have any picture information. You will just have a slightly less “hot” glare.
It depends on the shot, but usually it is best to re-shoot if possible.
Tom
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Control – U
Or Window > Arrange > Choose your window layout.
Tom
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I know this is getting OT, but…
My hearty agreement with the necessity of warning clients about disc playback issues. One of the things that made the above mentioned client feel better, was the inclusion of a VHS tape, just in case, on the second try.
I think it was equally important that I did not act as if I was the victim, as if it was my client’s fault for not being able to play the disc I had supplied.
My sentence was, “Regardless of cause, it is my responsibility to deliver something you can view.”
Because I took responsibility for the problem, the client felt better about me than he would have had I never made the mistake.
Tom
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If you intend to edit the footage currently on VHS, follow the advice above. Dub the VHS to DV tape, then capture the DV tape via firewire into FCP.
If you are just trying to do a dub, it is quick to use a DVD recorder. This footage will not really be appropriate for future edits, as has already been noted.
If this DVD is going to clients, be aware that compatibility and playback reliability is a crapshoot with discs created with consumer disc recorders. If it is going to a client, dub to DV, capture the footage into FCP and use Compressor/DVD Studio Pro to create the DVD.
Your mom will forgive you if you give her a disc that doesn’t work. A paying client might not.
I learned this one the hard way when sending approval copies of an edit to a client. Prompt apology and sending a disc that did work saved the relationship.
Tom