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Show all posts by userYour basic troubleshooting forum for all things FCP Legacy (FCP 7 and below.) And general discussion on topics that do not fit in the other forums.
Not registered? Click HERE to register now Re: New Final Cut Pro at Supermeet, April 12 - 13 years agoSorry to disagree with you, but how exactly would Apple force Michael to do this? He doesn't owe them anything and they don't own any part of lafcpug as far as I know. If this were my organization and this wasn't worth it I certainly would tell them to move on. Must be something pretty good and thanks to Mike for bringing this to us, the members of LAFCPUG.by Vince Sanchez - Café LA Re: New Final Cut Pro at Supermeet, April 12 - 13 years agoOh and for those who are crying about their money. Remember, it all goes to LAFCPUG. Hope they get a bigger venue and can sell a ton more tickets, these guys deserve it.by Vince Sanchez - Café LA Re: New Final Cut Pro at Supermeet, April 12 - 13 years agoWow, what a community, love you one minute,hate you the next, and you haven't done anything yet. I'd hate to have some of you guys for customers. The way I look at it, Michael let them use his event because he felt it was worth it. Apple can't "highjack" this event they would need to convince Michael that this was an announcement worthy of canceling your other presenters. So I'm guessby Vince Sanchez - Café LA Re: Sound Track Pro Alternative - 13 years agoI use Digital Performer. First off it does what you want, exporting audio back into a movie. It also does a load of other cool things that are video oriented. I've been mixing TV series for the last seven years with it. Here's a short list. 1. Imports FCS omf files perfectly. 2. Sends a dv signal out through a deck or converter. Amazingly if you bring in an HD movie it can down res and outputby Vince Sanchez - Café LA Re: Editing DV over a ethernet network? - 13 years agoWe've been doing this for a four and a half years. Our system is six users connected to an xsan over fibre channel. Then we have three other stations connected over gigabit ethernet, a producer's review station, a second feature feature editor and an assistant's station. We started with DV offlines, then SD ProRes no problems then last year moved up to HD. DVC PRO HD, HDV and XDCAM all work fineby Vince Sanchez - Café LA Re: Networking issues with Tiger and Snow Leopard - 13 years agoQuoteNow, with the addition of the new machines, there have been some permission issues. If a 10.6 machine creates a folder on a 10.4 machine the permissions, as viewed from the 10.6 machine appear as read only. Both OS's seems able to read and write to the folder. Keep in mind all machines are sharing a log-in. Should the 10.6 machine modify the permissions the folder becomes completely locked fby Vince Sanchez - Café LA Re: Filter to fix/improve bad skin - 14 years agoPro airbrush, which is part of The Grading Sweet Pro. Great set of plugins.by Vince Sanchez - Café LA Re: How can I get FCP Studio version 6? - 14 years agoIn our workflow two machines are Intel and the other four are G5's. The Intels are on FCP 7 and the others are still on 6. Fortunately our workflow starts on the G5's and flows toward the Intels, but occassionaly we need to send projects back toward the G5's, which we do via XML versions, which seem to work fine. My suggestion is not to worry about the differences use the newest version for eaby Vince Sanchez - Café LA Re: Capture prob -- captures full reel -- but only 30 seconds shows up in FCP?? - 14 years agoWhen you open it in Quicktime check to see where the in and out points are, if they're not at the beginning and endof the file reset them. Then do a "save" not save as. I had this problem once and this was my fix and I didn't have to make new clips. Hope this is your problem because its not too bad. Why it happened I don't know but it only happened once.by Vince Sanchez - Café LA Re: Ellen Show Post Workflow - 14 years agoReading this article I get the feeling its more about the editors not wanting to give up the workflow they're accustomed to than it is about any shortcomings of using FCP in a collaborative way. It also seems they had some hardware compatibility problems and planning problems and all combined made them more comfortable with what they know, Avid. It also seems like the kind of marketing pieces forby Vince Sanchez - Café LA Re: MPEG-2 Playback Gone after Snow Leopard upgrade ! - 14 years agoSnow Leopard installation overwrites the mpeg2 playback component that's usually in the quicktime folder. Since I had made a clone of my previous system I just copied it out of the quicktime folder that's in the library folder into the quicktime folder on SL.by Vince Sanchez - Café LA Re: how can I do this like in PREmier ? - 14 years agoQuoteDerek MokI'm going to be "snobby editor" here...this really isn't an editor's way to think about transitions. Transitions are choices. They are not "dialogue plus 15 frames". They are a conscious choice which may fit one kind of footage but not another. If you're thinking of "I'll cut the dialogue here and then add 15 frames for a transition", then you're notby Vince Sanchez - Café LA Re: how can I do this like in PREmier ? - 14 years agoI started out in Premiere years ago and I really liked the way you set transtition lengths, by overlapping video on an A/B roll. It gave you a really visual way to find your start and end points. When I first started using FCP it drove me crazy, that I couldn't get the same visual sense using FCP the way its designed to work on one track. Here's an example; Run a clip when the dialogue stops,by Vince Sanchez - Café LA Re: Hourly charges- Off topic? - 14 years agoQuoteThe question is "do you charge clients for phone time, invoicing time, generally anything which is legitimately for their project of course, but NOT actually editing?" Only lawyers get away with that, or maybe its just my lawyerby Vince Sanchez - Café LA Re: QT for protools - 14 years agoI always use a DV QT. In all the audio programs I've worked in this has the least hit on cpu usage versus quality. I've had small h264 movies choke an audio program where the same thing in DV was not a problem. All audio programs use the QT DV export function to display video on an external monitor, so they're optimized for that format.by Vince Sanchez - Café LA Re: Need some input on file relinking - 14 years agoNick Meyers Wrote: ------------------------------------------------------- > a scenario that comes up here a fair bit is this: > > new FCP editor wants to take a project on the > road, > uses Media Manger to make a copy of a bin or > sequence, > and TRIMS the media. > > they come back to the studio and now want to > re-link their cut sequence to the orby Vince Sanchez - Café LA Re: Anybody out there who can shed some light on this? - 14 years agoThat clears something up for me. I put a graphic in when I made a dvd with the share command and it only took up the center third (vertically) of the screeen. It was wide and narrow. Nice to know.by Vince Sanchez - Café LA One ray of hope... - 14 years agoI started thinking about the new Pro Res and its backward compatibility and was wondering if old macs would have the ability to use. I made a movie in the prores444 codec and sent it over to my ancient powerbook g4, at first it wouldn't open, then I updated to the latest version of Quicktime and voila it opened perfectly, alpha channel intact. I then imported it into FC 6.05 and all was good. Soby Vince Sanchez - Café LA Re: OT: Announcing the 8th Annual Macworld FCPUG SuperMeet, Jan 7, 2009. - 15 years agoIts true about how Apple's info influences people differently. Last year I took my boss. For me the discussion of codecs was interesting but not earth shattering. For my boss, it was like a light switch went off. By the time we got back home that night he had decided to change our show workflow from uncompressed to ProRes , dropping our offline to online workflow for a online all the time workfloby Vince Sanchez - Café LA Re: DVCPRO HD to Standard - 15 years agoI wouldn't count on that happening. My friend did just that and when HBO broadcast they center cut it, since it was framed for letterbox a lot of important information disappeared. What is described below will happen if its burned to a DVD. wayne granzin Wrote: ------------------------------------------------------- > set up an anamorphic SD uncompressed sequence. > drop your comby Vince Sanchez - Café LA Anyone else hear from Apple Lately? - 15 years agoJust got an email from "Apple Software Research" with a survey about Final Cut Studio. Which of the programs, for what and how often. When I indicated that I wasn't particularly happy with Color it let me give an in depth answer as to what worked and didn't work. Nice to know they are still interested in what we think about Final Cut Studio. Also very interesting, that about five miby Vince Sanchez - Café LA Re: POLL : What is your workflow? - 16 years agoFor the last two years the series I'm on now has done an offline DV to uncompressed online workflow. This year we're doing ProRes from start to finish. We're starting a documentary that will still be offline to online, so we're kind of in the middle. Would like to stay at one resolution though.by Vince Sanchez - Café LA Re: HD Mastering - 16 years agoI'll check into these. Thanks for the input everyone.by Vince Sanchez - Café LA Re: HD Mastering - 16 years agoThanks, this is info I need! Right now the movie is going to be shown at th IFC theatre in NYC and they want an HDCAM master. We've rented a deck and made stereo HDCAM masters for press screenings and those have worked fine, but the IFC says they can screen in surround if we can get them either of the formats I described above. I'm leaning toward the HDCAM SR. I'm set to talk to their projectionby Vince Sanchez - Café LA Re: HD Mastering - 16 years agoThanks for that link, helps clarify what we've been hearing. Since this is for theatrical release, has anyone had any experience with what theatres with HDCAM equipment expects? HDCAM-Dolby E or HDCAM SR?by Vince Sanchez - Café LA Re: HD Mastering - 16 years agoFirst thing someone might need to know is we are in N. Cal. Somewhere in the Bay Area would be great, but LA area would work for us too. Thanksby Vince Sanchez - Café LA HD Mastering - 16 years agoMastering to HD is new to us and we've been learning as we go. So far so good, but now we have run into a roadblock. We need to make an HDCAM master with 5.1 surround audio. The two options we've found are: 1. Get our 5.1 mix encoded to Dolby E and then laid into an HDCAM master. 2. Master directly to HDCAM SR from our FCP timeline (contains the 5.1 mix) So we have a couple of questions. Whaby Vince Sanchez - Café LA Re: Mixing PAL & NTSC - 16 years agoIf your planning on uprezing you had better check what FCP does with the timecode. The last series I edited did just this with FCP 5 and when we went back to uprez the clips, the pals clips had their timecode scrambled and the wrong part got uprezed. We had to do it manually matching the original footage with the clip. Hopefully its fixed in FCP 6, but I'd check before going too far.by Vince Sanchez - Café LA Re: Editing PAL in FCP - 17 years agoHere's something to be aware of. A couple of years ago we got a PAL project to edit. After the footage had been digitized I sat down to edit and noticed a weird flicker in the picture. On closer examination we decided it was not really a flicker but more like a pulsing in the brightness. The assistant and I tried capturing different ways all to now avail. When the Australian clients came in theby Vince Sanchez - Café LA Re: Yet another XDCam HD Question: This one's easier - 17 years agoI have another question to add to that. If you edit natively in the XDCAM format and add grapics or efx how does the quality hold up. Up til now our shows have been shot Beta SP, finished uncompressed 8 bit and mastered to Digibeta. Is trying to do a show completely in XDCAM format like trying to work in DV mode where the quality after rendering efx and graphics doesn't look as good as upresing tby Vince Sanchez - Café LA |
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