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Re: $999 FCP to Avid Symphony crossgrade offer - 11 years ago

I work on MC and Symphony every day. If the box attached to either is a NitrisDX (which it usually is for me) - then the difference you'll notice between the two... so negligible to be almost non-existent. Same goes if neither have NitrisDX (they are just slower). Occasionally I wish I had source-side colour correction in MC (i.e. where you can apply a grade to every instance from this tape /

Re: 10.0.3 and it's BIG - 11 years ago

QuoteWalter The cost savings short term building something yourself are offset long term when things need to be fixed, tweaked, massaged, updated, etc.... Especially when you're talking 7 to 10 workstations (and growing) that need to be overseen and maintained. Sure... z400/800s are a good solid purchase and make sense in a environment where billable hours is king - but there are folks just ge

Re: 10.0.3 and it's BIG - 11 years ago

Sorry if this is too OT... QuoteWalter Biscardi we should have our first HP workstation in here in the next few weeks for testing finally. Cross Platform opportunities with Avid / Adobe are big reasons for me to consider those apps. HP workstations are the easiest (just like buying a Mac) - but building your own may be faster and cheaper. Folks have been kind enough to run rendering com

Re: TV Broadcast using FCP7? - 11 years ago

So Vance you haven't used IPEdit in Edit2Air mode yet? ... me neither ;-)

Re: Editing a Feature with Subtitles - 11 years ago

I'm not trying to be provocative... (and this isn't much use to you) but having just cut a doc with *lots* of subtitling I am a big fan of the Avid SubCap tool... import/export of subtitles global editing of style / box / opacity etc easy text entry and editing I had real time playback, but it was an SD project. I'll try it in an HD one when I next get the chance. I suspect it'll be r

Re: Control of FCP by another edit system - 11 years ago

Hi Bob FCP doesn't have 'vtr emulation' like Avid. You could look at VirtualVTR which will give you 422 control of a quicktime - which could be a QT ref export from FCP. Never saw it be frame accurate (+/- 1 frame) when testing with a Sony 9100 several years ago - allegedly the Kona cards were more likely to be able to play frame accurate Quicktimes than the Blackmagic ones we were testing

Re: FCP training - 11 years ago

I would have thought that the most cost efficient method of training would be to take up one of the no-pay craigslist offers. She'd soon get the hang of it, no cost involved and the potential of a credit on a major feature. ;-)

Re: Plug-in to convert Mid-Side recorded audio to standard stereo? - 11 years ago

I seem to remember that back in the linear rooms we could decode to LR stereo with 3 faders - mid is panned centre, side is panned left, duplicate of side with phase inverted is panned right. Adjust mid level to alter stereo spread. You should be able to do the same in an NLE.

Testing storage for video... - 11 years ago

Re: Timecode breaks on client supplied tapes - 12 years ago

If you aren't aiming on doing a conform (i.e. you are capturing at your finished resolution) then just capture the clips with the deck set as 'non-controlled' or whatever it is you have to do to record a 'live' source. Timecode will mean nothing, but you will just be able to capture the media. If you have to do offline/online then do the same but record the 'burn-in' output from the deck...

Re: Keeping sync after pasting - 12 years ago

Shift-V (paste insert)? Not sure why anything would go out of sync though - even if you are overwriting.

Re: Need some seasoned FCP editor opinions. - 12 years ago

strypes Wrote: ------------------------------------------------------- > > > The verdict is still out on FCP X. None of us have > seen the equivalent of a viewer (aka. Source > monitor), so we still need to figure out how to > cut on that thing. Track patching is such a PITA on FCP and copying and pasting between sequences in the Canvas such a breeze that I'd be h

Re: Weird and Intermittent Sync Problem - 12 years ago

These guys know their stuff, but I have this with properly captured material. FCP is telling a bunch of files to 'play' at a certain point. Gaps in your video track seem to affect audio sync playback. Also any sample rate conversions and effects that are occuring 'on the fly' tax the system. Some settings seem to improve things sometimes: set: 'audio playback quality': 'high' render 'a

Re: Inserting time code into quicktime - 12 years ago

That is brilliant... resurrected my copy of QTChange to try that out. BITC in no time. Presumably it's added a track that can be turned off with QTPro? This iMac only has QTX... I think a neat app would be a QT player that played with BITC (pref outside the picture) for logging easy logging of QTs it's tough to get my clients to figure out how to install QT7, upgrade to Pro then click the T

Re: Destination Problems and a few shortcuts - 12 years ago

I think I get what you want to do: You are trimming an edit on A2, you then want to move to the nearest edit on V1 (alt+ prev/next edit on Avid) not sure it's possible on FCP. ; and ' will jump edits (like up/down arrow) but only to match the tracks of currently selected edit v will select nearest edit that have 'auto-selects' enabled - if you are within a clip (i.e. not in filler) and

Re: standard audio track assignment? - 12 years ago

I find it handy to use grouped outputs to keep a split track QT when exporting: Audio mixer set to 'downmix' so I monitor in stereo. Audio outputs of sequence are 8 stereo. Currently using - Routed to 1&2: (Full Mix) A1&2 - clear - move clips up to edit then move down to the correct tracks. Eventually put mixdown AIFF here. Routed to A3&4: (Fx) A3&4: mono fx tracks

Re: Exporting an entire feature - 12 years ago

I've been using zumodrive on my latest project and it has been a GREAT way to share files - video - aiffs for composer - scripts - running order etc etc etc The cloud appears on your desktop. I'll take the extra space if you are going to try it out so please feel free to use -- this link

Re: OT: Essential Mac software we couldn't or shouldn't be without... - 12 years ago

Butler - great keyboard macro app

Re: Studio Wall Monitor Suggestions... - 12 years ago

Ben do you have model numbers for those that have this mode... trawling the internet does not yield that information easily... better still a link to someone in the UK selling them. Also what do you have against < 42" models? Cheers Trevor Ben King Wrote: ------------------------------------------------------- > > > But more importantly the 'Studio

Re: MBP external DVI monitor recommendation - 12 years ago

@Vance Thanks for that - if you do get a chance to try a 50Hz signal on the Dell and see if it is stuttering that would be great. @Dave Surely all monitoring is RGB - so there's some kind of YCrCb to RGB conversion going on somewhere in the process. As far as displaying fields goes the DVI route is a bit messy - seems like fields are mushed together to make a frame, but the AJA IOx HDMI

MBP external DVI monitor recommendation - 12 years ago

Using HP monitors on a Mac HP monitors are not supported in a Mac environment. ---- wish I'd seen that before I bought two! I have an HP2309m monitor - which I've recently started using as the external on my MBP. This works very well with 50i footage when using the HDMI output of the AJA IO Express, but results in choppy playback & field issues when used via DVI - presumably as HP mo

Re: Transcode only H264 material - 12 years ago

OK I can "edit like a Roman" with Epic in FCP too ;-) Thanks for the help. I guess transcode when I have the time and don't worry about creating new projects with MM when I don't - just keep the resulting files tidy myself (which is what I have been doing on other jobs). Seems like the main thing to remember is to give the H264 clips reel numbers at a QT level to keep up the chanc

Re: Transcode only H264 material - 12 years ago

strypes Wrote: ------------------------------------------------------- > In Avid, you have to convert everything to DNxHD. You don't have to. You can just transcode selects (for H264) very easily. > you should transcode everything to prores. You > could try looking into this if you don't want to > transcode. > I agree that to transcode the lot is the best approach

Re: Transcode only H264 material - 12 years ago

strypes Wrote: ------------------------------------------------------- > If I get what you're saying, you don't have to > make independent clips if you want to link all > instances of the selected H.264 clips to the > ProRes files. > > What you do is to MM "recompress" your selects > sequence, unchecked "delete unused media". Then > when it i

Transcode only H264 material - 12 years ago

I've never quite understood the media manager in FCP when it comes to consolidating small elements. For example if I am cutting using mostly ProRes on a RAID but have some H264 material on a FW drive my preferred workflow is to import those raw files, rough cut them into my sequence and MM just the H264 clips onto the raid, recompressing to ProRes in the process. The options are to 'duplica

Re: File-Based Workflows and Clip/Bin Management - need some tips - 12 years ago

Nick Meyers Wrote: ------------------------------------------------------- > > > my system for this: > i used in/outs to define the part i liked, (which > i can preview with Shift+\ "play in-to-out" > then > Shift i (go to in) > copy/ paste (Apple C, Apple V) > open in Viewer (return) > SUPERIMPOSE (F12) > Neat trick, thanks. For clari

Re: Mixed HD and SD - which should I offline in? - 12 years ago

Shane Ross Wrote: ------------------------------------------------------- > Put a > proper colorist in front of ANY tool, that's a > proper grade. I would venture that a great colourist is more likely to be happy in a properly set up room with decent monitoring. And to get a return on that investment means that the room is more likely to be a high-end grading solution, with dedi

Re: Mixed HD and SD - which should I offline in? - 12 years ago

I appreciate the depth of the tools in Color versus Symphony. By proper grade I meant DaVinci/Film Master / Baselight - thus no advantage to doing the 'off'line in FCP. Symphony still wins in the, 'keep it all in one app, real time playback with audio & grading via tape name / master clip etc though'... I want the best of all worlds ;-)

Re: Mixed HD and SD - which should I offline in? - 12 years ago

Interesting views, thank you. I think we are going for a full grade, rather than a Color grade, so I think Avid wins in this case (much as I like a lot about FCS, I still prefer to cut in Avid). And the SD is really because of the archive - easier/cheaper to deal with SD than HD. But the remaking of FX is a good point to be aware of... Hmmm Upres of SD is likely to be via Alchemist dur

Mixed HD and SD - which should I offline in? - 12 years ago

Planning an hour broadcast doc with a mixture of HD and SD material (delivery 1080i/50). Interviews on HDCam with Canon FiveD as B-cam Archive mostly DigiBeta or D2 Likely to cut on Avid... but may use FCP if workflow / cost is beneficial. If FCP am trying to decide on the best codec to be cutting in... Minded to do it Prores SD, with a final HD conform of tape sources and relink