[Victor Perez]

“Glitch” is difficult to pin down without a finer description, but here is how I fix one kind of glitch at the head and tail of a transition when editing material that has various shots in one clip.

Depending on how a transition is placed, some the frames might overlap an adjacent shot on the same clip. To see if this is so you can hit the “S” key for your Slip / Slide tool and then hold down the left mouse button on each of the clips butting against the transition. Both the head and tail frames displayed in the Canvas should be from the same shot. If not that is your most likely your glitch. Adjust accordingly.

good luck

Victor

[Victor Perez]

Try this,

Duplicate your sequence to keep the one with the “Many Masters” for later reference between it and the new sequence.
Right click on the sequence in the Bin and go down to Settings.
The Sequence Settings window should open.
Click on the “Audio Outputs” tab on the far right. There you’ll see your outputs from 2 (Stereo) to 24.
Adjust the grouping to your needs. Stereo lets you pan your audio tracks. Dual Mono does not.

good luck,

Victor

[Victor Perez]

Thanks David,

We have another series entering the edit suites within a month. I will be starting on a basic template and will incorporate the use of Boris Title then.

Thanks,

Victor

[Victor Perez]

LiveType is located in your applications folder. If you have not previously used LiveType and are just adding simple text for supers without fancy effects it might be easier to stack two layers of “Outline Text” or “Text” from Final Cut and then move each layer up or down to your liking in the canvas. LiveType is great, so get used to it but, it can be a bit complicated if you have not used it before. Things like Format, Aspect, Size, Background, etc can change the look (ratio) of your titles when rendered out or used as an .ipr file.

Depending on the project we usually stack 2 Text Files for simple titles and use LiveType for GFX text.
Other projects call for individual LiveType titles with effects.

good luck,

Victor

[Victor Perez]

We have also had the “due to Slow Drive” curse infect our projects every so often. The first thing I do is goto System Drive> Applications> Right Click on FCP> Show Package Contents> MacOS> Render Files.

If you have a folder with your project name in there and rouge render files inside that folder that is the problem.

Somehow ( I think it is because System Settings is incorrectly setup ) render files get into this folder. Deleting them solves the trick for us all the time.

Quite possibly when your raid was set up the system setting defaulted to sending the renders to this folder prior to you correcting it.

It seems to be the answer if you are getting an error concerning slow drive on a raid system to check the System drive since that is probably the slowest in the chain.

good luck,

Victor

[Victor Perez]

Our facility has shot and edited several seasons in HD, but we have only delivered in SD (letterbox) so far. All titles are within FCP 16 x 9 title safe. We are now concerned that when we finally deliver our previous seasons and future ones in HD that some stations may crop the image for those viewers that still have 4×3 monitors (me included for now) and some supers / titles may come seriously close to video safe and not correctly displayed on 4×3 monitors. So far I have seen a few stations in our area (thru Dish Network) that have supers half cropped off of the screen, a local PBS station being one of them. Has anyone else come across this. I have seen some sporting events in HD with supers/ and scores that seem to be in 4×3 title safe instead of 16×9 title safe. We use the Kona 3 to down convert to letterbox. If we switch the setting from letterbox to crop it does cut titles in half. Does anyone else out there use this in their practice? Just curious..

Victor

[Victor Perez]

G Tech recently released the G/Raid 3 with Quad Interface and 2TB / 3TB options at Raid 0 at a premium price compared to the LaCie.

We own an original G/Raid and a G/Raid 2 that have run as local backup media drives and have been rock solid since we purchased them.

https://www.g-technology.com/products/G-RAID3.cfm

As for me I’ve been looking at their G Speed eS (eSata)
If anyone has the G Speed eS, I would like to hear your thoughts about it.
Is it fast with or without the PCIe RAID Controller.
Does it run hotter than traditional externals.
Is it noisy.

thanks

Victor

[Victor Perez]

We have had this problem a few times with FCP before when recreating projects with the original render files on audio clips with effects. We realized that (for us) the only audio files affected had audio effects on them.
To fix the problem we just click off and on again the audio effect inside the clip and render it again.

This should get rid of the audio repeating in the middle of that clip.

Hope that works

Victor

[Victor Perez]

Could be a few different things, but here is my shot at it.
There is a way to mute individual audio channels and SOLOing them without seeing any visual difference on your timeline if Show Audio Controls is not selected in Sequence Settings. Try opening your Audio Mixer (Option 6) and look at the top of the A1 sliders. If the little speaker is lit, Channel 1 Audio os muted. If the little headphone is lit on Channel 2, then the audio on channel 2 is Solo. I believe there is a shortcut for this, but I can’t think of it. You can also open your Sequence Settings and under the Timeline Options tab if you click on Show Audio Controls (Lower left of column) you can basicly do the same thing and see them on your timeline.

good luck,
victor

Victor

[Victor Perez]

[Andy Mees] “Regarding the XDCAM HD timeline with ProRes rendering thing, you might want to talk with your tech guy again about that. ProRes rendering offers a significant speed increase over rendering to XDCAM HD, and potentially a significant quality increase too, especially with heavy effects and graphics work. “

Thanks Andy, I’ll forward that to our tech.

And to Tom,
We also Master HD Versions back to XDCam (Split, Global, Archive) for future use. Our initial conform back to XDCam Disc is under 5 minutes when everything is rendered including Full. If thats not done, conform time jumps to about half an hour and then the transfer to Disc occurs which takes an additional 20 – 30 minutes. But you should still be able to work in Final Cut during the second phase of that process.

We’re running that process on our 3.0 8 core machines. I’m pretty sure times would be much longer on our offline suite which has a 2.7 Quad.

Victor