[William Carr]

Thanks for putting that to rest, we’ll keep up the practice of watching on an eclectic mix of screens to make an overall judgment (a guess, really!).

[William Carr]

Along the lines of this subject, we have shorts shot with the HVX200, and their final destination is web (a multitude of unknown PC screens around the world) with Quicktime Player playback.

We color correct in FCS using our Apple Cinema Display monitor, then make our H.264 with Quicktime Pro or Compressor and check playback on various monitors.

So should our Quicktime settings be switched to FCP Color Compatibility? Does that take us nearer or farther away from what the world will see over the web?

[William Carr]

In addition to bringing down the level or EQ’ing just at the “bumps”, you need to fill in those dips or changes you make in the ambience.
Find another spot on the track between interview statements and mine them for patches.

[William Carr]

I bought an extra-capacity Panasonic battery for my HVX200, it may fit the 170; it’s model CGA-D54s Series 6 and outperforms the standard battery the camera came with.

There are cheaper generics, but here is the one I have:

https://www.bhphotovideo.com/c/product/282863-REG/Panasonic_CGAD54SE_1B_CGR_D54_Lithium_Ion_Battery_Pack.html

[William Carr]

What is best is a very easy and well-prepared route using the applications in Final Cut Studio, whether you have an SD or HD sequence.

Read the thread below, using the info from David Roth Weiss–

https://forums.creativecow.net/thread/8/990091

[William Carr]

Try exporting a Quicktime of your sequence using “Current Settings”.

Then bring the resulting standalone Quicktime file into Compressor, without involving FCP.

[William Carr]

Daisy-chaining two G-Raids on a single firewire bus and editing 1080 footage on an iMac may be overreaching the performance of your set-up.

If it’s a short film maybe all its media will fit on one external, but make sure there’s at least 25percent room to spare. So trash prefs and then try connecting and using a single G-Raid.

[William Carr]

When we shoot with our FS-100 and HVX200 the resulting clips are Quicktime. So there is no need for the Log and Transfer function of FCP.

We take the clips from the FS-100 folder and dump them into the appropriate project’s Capture Scratch folder on the external media drive. From FCP, simply import instantaneously into whatever Bin you want, however you want to arrange them.

This also means your clip is your clip, there is no trimming them down during import. Unless you’re shooting terabytes of data, hard drive space is cheap.

[William Carr]

When I started editing with FCP years ago I had good creative skills and lots of edit experience, but no technical savvy and plenty of apprehension. My VAR was helpful, and I took some lessons with a trainer, and I struggled with the manual and 3rd party books, and I experimented a lot applying my editing logic to the application’s logic. I also supervised a bunch of edits and learned by watching the hands-on editor.

But the crucial, most essential overall knowledge that allowed me the opportunity to grow my skills with Final Cut and the Mac/systems stuff has been this forum. I read it every single day, whether I’m editing or not, whether I need help or not.

The attitude and skills of the official (and unofficial) COW Leaders are priceless, especially when measured over the years of learning from their advice and instruction to thousands of fellow editors.

Make a habit of reading this forum every single day; start with posts you understand the most that cover subjects you’re familiar with. Read posts you think you know the answer to and see if you were right.

Soon enough you’ll find yourself reading more arcane posts and saying, “A-hah! I understand that bit!”

Then comes the really cool day you see a post with a simple enough question, and you find yourself responding. And even more cool, the poster responds back that your advice did the trick.
And there you go.

[William Carr]

DW seemed to help, at first. Then the G-RAID2 drive got slower and slower and made some crunching sounds, and slowed to a crawl.

Finally it couldn’t perform at all. Called G-Tech support, and after restarting the Mac the drive wouldn’t mount at all, yet even unmounted made lots more crunching noise like it was calculating climate change. They told me it was toast and ship it in for repair/replace.

That settled, I took one of my other G-RAID2 units, backed up its media, formatted it as per G-Tech spec, ran DW for fun, and started to load it up with the current job’s media from a b/u storage drive.
And… after a 100GB or so it got slower, and slower… Ran DW a couple of times more. But it ran even slower, loud crunching sounds, and slower…

This was a totally different G-RAID2 bought a year before the failed one, so– huh?
Tried swapping out everything– FW cables, internal FW bus vs. Nitro card FW bus on the MBPRO, tried another Mac. Nothing.

Then I tried another power supply. The simmering hot black transformer that came with one of my G-RAID2 units– I was using the same one for both drives since I usually mount just one at a time. Another power supply, and the drive resumed normal performance.

When all this job’s media is re-loaded I’ll try and edit, but so far the data transfer rate and drive behavior seem fine.

The danged power supply? I’d have guessed a bad transformer would stop the drive from working, period, or turn it abruptly on and off. But actually slow it down while it stays mounted on the desktop? Never would’ve guessed, and neither did the G-Tech support guy.