Tom Meegan
Forum Replies Created
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Just a couple of thoughts that occurred to me as I hit “Post Direct.”
In Final Cut Pro go to…
Help > Final Cut Pro User manual.
See page 211 and 221 of Volume One for the most relevent information. This assumes FCP 5. If you have an earlier version, use search and type “external video.”
Successful color correction is dependent on monitoring. If you color correct on a device that does not share color space and gamma response characteristics with the monitors the viewers will see, you can expect a viewing experience that will not match what you intended.
That being said, if you are just trying to match a shot to known good footage, you should be able to get close with any monitor
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If you final product is going to be shown on a TV monitor, you should should view on a TV monitor as you work. Ideally a professional monitor, but a TV will work fine for non-critical applications.
If your work is destined for the web only, there is no need.
Take the firewire out of your computer to your DV camera or deck. Then take your analog outs from the camera or deck to the monitor.
In Final Cut…
View > External Video > All Frames
View > Video Playback > Firewire DV
View > Audio Playback > Audio follows video
View > Refresh A/V devices
Good luck.
Tom
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Unless you really need the speed increase, I would not tread this path.
You can make it work, but if you are doing effects work that is complex enough to see a benefit from the lower res clips, then you will likely have issues with using the media manager to handle the re-capture or reconnect process. This frustration will likely negate the time you gained, and might even threaten your deadlines as the reconnnect/recapture process occurs closer to the end of the work.
It does depend on your workflow, however. I would suggest you experiment and test until you are comfortable before you try this on a job with a deadline. Make sure to include speed effects and nests in your experiments, as these are the things that seem to give media manager the most trouble.
Tom
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Most sports shooters (video, not photograpy) work “for hire” meaning they have do not have any rights to the footage. However, as you are structuring a long term deal, you may be able to work out the rights differently.
Are you shooting with one camera or many? The cable access coverage of the races implies many cameras
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Here is a list of things to try. Some of them are not relevent to your situation
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I would look at the footage on the worst monitor you think it is likely to be viewed on, using the composite video outs of a cheap dvd player after encoding.
Then make a decision.
Tom
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X – marks the current clip
I – marks an in
Delete -Lifts the clip without effecting anything down stream
Shift-Delete removes the back end of the clip, and slides everything down stream to the point of the playhead.Note: Be aware of auto-selects when using this technique with multiple layers.
Alternatively, use O to mark an out and Delete will remove the front end of a clip.
Have been wishing for the abiltity to script those four keystrokes into a Macro. I use them a lot when roughing an edit in.
In Motion, select the clip in the time line and hit O.
Tom
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If the cable run to the deck is longer than eight feet, and you are not using a KL-Box, I would suggest you try a very short cable run to the deck. This may not solve it, but it is worth a try, as I’ve had similar problems on the input side when the cable runs were longer than eight feet. Either that or throw a reclocking DA into the line near the deck.
For us, the KL-Box solved the problem
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When a monitor has more square feet than my house that is where I draw the line.
Tom