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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 Any FCP Picture editors using Soundtrack Pro - 18 years agoI'm interested in hearing about FCP picture editors who have adopted Soundrack Pro into their workflow. How's it going? I doubt that we will abandon our "final mix" in a dedicated studio with a trained audio mixer, however some of the noise reduction/cancellation capabilities within STP are truly amazing. I envision our off-line editors dipping into STP for some specific fixes aby mark raudonis - Café LA Re: Make red lights yellow - 18 years agoJennifer, Go to your help menu in fcp. Open it up. Do a search for "Limit effect". There you'll find exactly what you're looking for. (It's page 476) Derek, What you're suggesting will work, but it's much, much more time consuming. Limit effect essentially "pulls a key" from a defined area (in this case the red light) and simply replaces that color with another. (Thby mark raudonis - Café LA Re: Sountrack Pro question - 18 years agojesus, This is quoted from the STP manual: Soundtrack Pro comes with 5,000 prerecorded royalty-free audio loops ranging from musical parts to sound effects. That sounds like "royalty Free" to me! Go nuts! markby mark raudonis - Café LA Re: Using FCP5 with STP Without Switching Audio Outputs - 18 years agoThe easiest solution is to change your FCP to monitor "built in"... same as STP. If that doen't work for you, my suggestion would be to buy an inexpensive mixer (Behringer makes 'em for less than a $100.) and route all your signals through that. Then, when you filp back and forth, all you have to do is move a fader. Having a mixer in your set up gives you much more flexibility forby mark raudonis - Café LA Re: Make red lights yellow - 18 years agoSecondary color correction. Select the "Red" color and adjust it to be yellow. markby mark raudonis - Café LA Re: Grading - After Effects or FCP 4.5 HD - 18 years agoIf you like "Color Finesse", you should also check out this: It's like having a Davinci on your desktop! Only $999 for the SD version. Scales all the way up to 4K! markby mark raudonis - Café LA Re: audio post-production problems... - 18 years agoRich, The best thing you can do is upgrade to FCP 5 which includes "Soundtrack Pro". There are tools in that program which far exceed anything you can do with FCP. The tutorials explain how to "roundtrip" from FCP to STP and back. It's almost impossible to "write" about sound techniques. You've got to hear exactly what's being done to your track to understand theby mark raudonis - Café LA Re: Recording my video mixxing nonsense - 18 years agoYou're essentially saying, "I want to record the NTSC output of my FCP as I jump around the timeline". Of course it's going to be jumpy. You're not really "playing back" smooth picture. Some video cards like the AJA or Blackmagic may give you a more stable output rather than the firewire out. I'm assuming you have a NTSC monitor hooked up. If so, how about this.... poby mark raudonis - Café LA Re: 4 tracks audio - 2 channels out - 18 years agoeddie, Ch 1 is now louder because you are "summing" the output of two channels into one. If this is how you need to output, you should set your chanels accordingly and monitor it as you cut. If you had any "out of phase" mono tracks in this kind of set up, you'd find that the signal would almost disappear as the opposite phases cancel each other out. (Which is what you're dby mark raudonis - Café LA Re: match frame audio - 18 years agomatchframe is dictated by how you have the "auto select" buttons on or off. If you've got three tracks of video and eight tracks of audio then you're going to have to do some manual selecting to ensure that the match back happens to the correct track. Video starts from the bottom up and audio starts from the top down. Easiest way to do it is to turn all selections off, then on for yoby mark raudonis - Café LA Re: Timecode Questions - 18 years agofrank, Uh... not quite. Timecode is not the same as a control track. In the pre digital era (in other words back when David Lee Roth was still in Van Halen), all analogue video tape had a "control track" to "lock" the sync of the picture. This was a separate signal recorded onto a distict part of the tape. Years later timecode was added on as a method of identifying uniby mark raudonis - Café LA Re: 1080i 24p or 1080 60i is cheaper in the final analysis? - 18 years agoThat's my understanding as well. No true 24p out of this camera. You have to go to Panasonic for a 24P at a similar price point. Markby mark raudonis - Café LA Re: dangerous drive issues - 18 years agoDo a search of this forum for "LaCie" drives and you'll find a ton of info about problems with that brand of drive. Having said that, "reconnect" issues are usually not related to drive performance. Daisy chaining other items (your Sony Deck) through the drives can add to your problems. If you have another drive available, I would back up your media asap and then figure outby mark raudonis - Café LA Re: Sharing media and projects over a network with FCP - 18 years agoAdrian, Go to the Apple website and search for "X-SAN". They would have the most comprehensive info on the equipment. There also are dedicated forum's on "The Creative Cow", and Apple's own site. X-SAN is Apple's answer to Avid's Unity. It works great! Yes, multiple editors can access the same media at the same time. Unlike AVID, which is a closed system requiring aby mark raudonis - Café LA LAFCPUG plans for NAB? - 18 years agoI'm making my travel plans for NAB. What night is the FCP user's group meeting planned for. Markby mark raudonis - Café LA Re: Cinema display workflow - 18 years agoDave, If you already own a decent NTSC monitor, I would NOT dump it in favor of an LCD monitor. There have been many threads about the differance between a "computer" monitor and a NTSC TV screen. To summarize, they're NOT the same and you should always be able to monitor in your target distribution mode (NTSC). Having said that, all of our off-line rooms only have two 23" ciby mark raudonis - Café LA Re: Remote client viewing tip - 18 years agoJude, My understanding is that you need TWO Macs to pull this off. One to play out the timeline and the second to run iChat. Substitute the video feed from FCP for the camera input on Mac #2 and away you go. By using this method you'll have full timeline control. Someone can correct me if I'm wrong, but I don't think you can do it all from one system. At NAB last year Apple demonstratedby mark raudonis - Café LA Re: OT, am i just a bonehead? - 18 years agoI've discovered that there is a difference in how you close out the window. If you use Apple W to close the window, the position and style of the window will not "update". However, if you use the red button in the upper left to close the window, those changes will "stick". Hope this helps. Markby mark raudonis - Café LA Re: The nerve>>> Just say NO! - 18 years agoYes, this kind of arrogance sucks . Even in the Middle Ages young apprentices were given room and board in exchange for their services. markby mark raudonis - Café LA Final Cut SIX! - 18 years agoHere's something to start the rumour mill racing. markby mark raudonis - Café LA Re: FCP Studio / DV Footage /Progressive..offline possibilities - 18 years agoNick, Our workflow for preparing an online is pretty straightforward. We identify the "problem" shots in advance and manually correct them. We also take the time to manually check each and every shot for frame accurracy. When up rezzing, we leave in 15 frame handles which takes care of most random slippage. If there's something worse than that, we investigate to identify the probleby mark raudonis - Café LA Re: FCP Studio / DV Footage /Progressive..offline possibilities - 18 years agoGev, I work in NTSC land, so I don't have much experience with PAL. However, considering your situation, I would suggest doing a test and seeing if the Off-line/on line workflow is right for you. It sounds like this is exactly what you're looking for. John, I have to disagree with you about your comment "nothing like real Off-line usage in the edit world". We have almost one hundrby mark raudonis - Café LA Re: FCP Studio / DV Footage /Progressive..offline possibilities - 18 years ago"regular DV is the minimum" Not quite true. If you're REALLY tight on space you can use "Off-line RT" which can be smaller than DV by a factor of 10. Obviously, you're going to take a hit in quality, but the option is there if you need it. Most people don't like using OFF-LINE RT 'cause it looks like crap. However, if you're in a shared storage environment with many usersby mark raudonis - Café LA Re: Mixing 16:9 and 4:3 formats - 18 years agomiguel, As far as I know, there is no easy answer for you. As you've suggested, you've got to "expand" the 4X3 archive material to fit the 16X9 frame. Yes, you're going to lose some resolution in that process. My only suggestion, and it may not work for you creatively, is to use "pillars" on the sides to fill in the frame. You might be able to come up with an interestingby mark raudonis - Café LA Re: Timecode window dub from timeline - 18 years agoFirst, do a search of this formum for this topic. It comes up just about every other day. Second. Open up FCP. Click on the "HELP" tab. Do a search for "Timecode reader". Hint: It's page 452. Third. follow the instructions on the page. What may not be obvious from the instructions is how to get the timecode reader to read the sequence time and not the individual clby mark raudonis - Café LA Re: Time Code Breaks/Handles in Online - 18 years agoDerek, I've got to disagree with you on two points. Handles, while in this case are causing problems, are useful if you have "sync" issues. We usually up res with 15 frame handles to take care of any sync problems that crop up. When you've got to slip a shot a bit to restablish sync, having the media available to do it saves tons of time. Regarding off-line resolution... you're rby mark raudonis - Café LA Re: How big are folks letting thier projects get? - 18 years agoEarly releases of FCP with multicam caused project sizes to balloon to unprecedented sizes. We regularly were dealing with projects of 150 Mb, and having to open 3 or 4 of them at a time. Needless to say, that slowed things down. Later releases seems to have conquered the "ballooning" issues and projects over 100 Mb are rare. Our experience is once you're above 400 Mb of projects oby mark raudonis - Café LA Re: Steve Bayes FCP product manager - 18 years agoWelcome aboard, Steve! Perhaps now all those "pry it from my cold, dead hand" Avid users will take FCP seriously. As for whether Apple "listens" to the professional post community, I can speak from personal experience... THEY DO! The only time I ever got personal attention from Avid is when they learned we were making the switch to FCP. By then, it was like closing the bby mark raudonis - Café LA Re: major problem with password - 18 years agoLuis, Don't be so defensive. Wayne's comments are meant to be a "cautionary tale" to others who may be reading this board for insight, inspiration, and advice. Sucks for you that it's your situation being used as an example, but the fact is, Wayne's right. markby mark raudonis - Café LA Re: FCP 5 to shake3.5 issues - 18 years agoAnother great color correction tool to investigate is called "Final Touch" by Silicon Color. Think of it as a DaVinci for FCP. Check it out at: The integrated workflow from FCP & back is quite good. Markby mark raudonis - Café LA |
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