Tom Meegan
Forum Replies Created
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Never key in on a walkie talkie radio near a recording beta sp deck.
Interference like you would not believe!
Added a LOT of excitement to a live event I was working about seven years ago.
Regards,
Tom Meegan
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Jeremy,
It is likely that this is the issue, as the system was out doing Nascar, installed in a mobile unit, for months before I saw it. Once it was integrated, it was left alone.
I’ll pass this thread along to the owner of the system and see what he thinks.
Thanks for your reply.
Regards,
Tom
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Thank you Bob. I will give this a try when I am next on the system.
I’m sometimes required to take an audio source that is distinct from the video
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Mark an in and an out on what you want to go to a particular tape, choose “print to tape” and choose “in to out” under the media drop down (this is from memory – I’m not in front of a system.)
Alternatively, duplicate your three hour sequence three times. Label them Segment 1, 2 and 3. In each sequence mark an in and an out on the material you don’t want, and press delete. Print each sequence to tape.
I think a nested clip is analogous to a Media 100 composite clip, based on your description. I don’t think you need to nest in this situation, though you could if you wanted to. To nest a section of you timeline, mark and in and an out, then press Option-C. Everything collapsed to one clip. If you double click it in the timeline it will load in the time line as a sequence. Option double click to load the nested clip into the viewer. Here is a good tutorial on the subject.
https://www.lafcpug.org/tutorials/basic_nest.html
Good luck with the Armenian Wedding.
Regards,
Tom Meegan
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I’d vote for dual monitors. In FCP for regular editing I keep the browser window quite large on the monitor on the left which helps keep me organized. I’ve also built a bunch of screen layouts for different purposes. My favorite is for color correction. I have waveform, vectorscope, histogram, parade, frame viewer and a little browser all open to my left, and my regular editing interface to the right.
I don’t think you will regret the purchase.
The menu bar can be on either monitor, but I don’t think you can have two menu bars. Please correct me if I am wrong.
Best wishes.
Tom Meegan
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Long Captures tend to drift out of lip sync, more so on lower end playback/converter devices (your mileage may vary). The drift, from what I’ve read, is consistent, and so becomes more and more pronounced as you get deeper into the clip. I had this happen to me in an earlier version of FCP, and didn’t see it until I was pretty far along in the project (I was doing the job as a favor on an Imac, and did not have an NTSC monitor until late in the process.) It was misery to fix.
Search the forums and the net on this topic and you’ll get a lot of information on the whys and wherefores, as well as some work arounds I wish I’d had.
Also, I agree that dubbing the footage up is a good idea. If you had two decks you could minimize lost time by dubbing at one station while you capture on the other.
Hope this helps.
Regards,
Tom Meegan
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I’m not in front of my machine to test this but here is a thought.
Layer 1 = Background video
Layer 2 = Your red text background
Layer 3 = Your luma matte (terminology is tricky here, as FCP refers to what you want to do as a Travel Matte)
Layer 4 = Your text (the motion you have on the text could be created with keyframes in the motion tab.)Right-click (or Control- click) on layer four, and choose Composite > Travel Matte Alpha.
Once you get the timing dialed in, duplicate the sequence, re-name it Lower-Third Shell (or whatever), and clear the background video. I would create a bin called lower thirds, place the shell inside, and then start duplicating, and entering text. Name appropriately, and when the time comes, edit these guys into you finished program, targeting layers 2, 3, and 4. You could alsoedit your shell into the time line and do your text changes then. I hope this helps.
Regards,
Tom Meegan
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The Balis article on the Ken Stone site above is excellent. Here the quick and dirty answer to your question.
A “Proxy” is a stand in, or temporary replacement. FCP can’t render that effect in real-time so it substitutes a similar effect. It assumes you will render before final output.
In order to maximize the number of effects you can see in real time, go to the RT drop down menu (upper left of the time line) and choose, RT Unlimited and low quality. However, I think many of the wipes don’t work in real-time, hence the decision to display with a proxy.
The article on the Ken Stone site goes into the reasons for all of this in great detail, and really helps.
Regards,
Tom Meegan
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I did as Walter suggests above and bought a used PVM 1354Q for just over $400 on eBay. The price savings was worth the risk for me at this stage. At some point when the work justifies it I’ll invest in a multi-format monitor, but for now I know I can trust this monitor for NTSC color correction.
Regards,
Tom
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Here is a good list of book resources to get you started.
https://proapptips.com/tips/article.php?story=20050311043312241
#15 on the list is specifically for Avid Editors. The Apple Pro Training Series is very good. Depending on what kind of projects you work on many of the other books on the list would be very helpful..
Best of luck.
Tom