Basic transition advice

1. Which transition is best for placing between clips to show the passage of time?
2. Which transition is best to go from one location to another? Indoors to outdoors?
Thanks.

I used to be a leading time waster here as evidenced by the number of posts I amassed prior to dropping out. But back then, we didn't have the "tombstones".
I think of them more like the marks down the sleeve of senior sergeants in the US Army. We had slanted ones on one side - indicated three years of service each, and smaller straight ones on the other sleeve, each indicating six months in a combat zone.
My years of service just sort of happened. Keep your nose clean and stay out of trouble. Those are like the number of posts. Just having a large number doesn't really say much other than you are a prolific poster. On the other hand, the MVP and pluses are like the combat marks. They have to be earned the hard way. In this case, it means the posts have to be helpful, and correct.
I am a little uncomfortable with a large number of posts and no pluses to speak of. Makes me look like my answers aren't useful. Over time, that will correct itself.

Similar Messages

Basic transitions need to be rendered

I just installed the uprage to FCP 6 and the some of the basic transitions need to be rendered before I can view them. I never had this problem before upgrading, so am assuming it is a setting that I am missing.
A couple would play (some dissolves, all iris & a few more) and they come up with a grey line above it -- but most of the basic ones (some slides, some dissolves, stretch) come up with a red line and require rendering.
I figure it must be a setting that I missed but can't find it in the manual or searching this forum.
Any help would be wonderful.
Thank-you

FCP gave me the message that the clips were a different format than the sequence so I fixed that. Turns out it was the safe RT - now I remember having to do that the first time I installed the program. Feel kinda silly for forgetting something so basic.
Thanks so much for helping on such simple screw up.
Fixed it all!!!

Transition advices to new Mac Pro needed

hi everyone ... I would like to ask your opinion in how to transition from my old Mac Pro to the new one that will arrive soon.
my main concern is my old habit in using the 4 hard-drive slots of my old MP for so many years now:
disk 1: contains the operating system with basic data
disk 2: contains my main data I use every day for work
disk 3: time-machine backup
disk 4: bootcamp
basically I would like to keep a similar setup but so far I have seen only raid systems available for Thunderbolt 2 storage devices and I don't see the possibility to use a raid system and splitting it up the desired way.
1) in your opinion would it be a good solution to buy 3 external Thunderbolt HDD housings and use my existing HDD's?
2) so far I have seen only Thunderbolt 1 housing's without HDD's. but am I right that 10GB/sec is enough for read/write data transfer-speed?
3) or should I change my old habit and get used to a Raid-system and use Thunderbolt 2? (but what to do with bootcamp and time-machine?)
my second concern is about my 2 displays I use that are connected via DVI:
4) will a "simple" DVI adapter to Mini DisplayPort do the job in connecting my displays or do I need a special adapter?
and finally your advice for all the CD/DVD's:
5) what device would you guys recommend for reading and burning CD/DVD's with the new MP?
looking forward to the new MP but very afraid of all the needed extra devices and cables with the "mess" they will be creating around my work-aera!
anyway a BIG thanks in advance for your tip's and helpful input!

Same issue here. Here's my suggestion:
1. Purchase a Pegasus2 R4 empty RAID from the Apple store. Thunderbolt2. Move your drives there. If you want to keep your same setup, you're done, but then you are losing the advantage of not having the redundancy of RAID, such as RAID5, RAID10, or RAID6.
2. Purchase Apple's minidisplay port to DVI adapters for $99 ea.
3. Lots of options for CD/DVDs. Here's one that was designed for the new MacPro: http://www.numac.co or use the existing ones in your old MacPro, as explained below.
While I wait for my MacPro to arrive, I am using a MBAir 2013, a MacPro 2006, a 30" cinema display, a bluetooth keyboard & trackpad, and a Pegasus2 with four new 4TB drives (Seagate NAS) in a RAID6 yielding 8TB of storage with dual redundancy (two drives can fail out of 4). The old MacPro is connected via wifi file/display/CD&DVD sharing. The MBAir is connected to the Pegasus2 which also is connected to the cinema display. The MB Air's lid is closed and accessed with Apple's bluetooth keyboard and trackpad. Not only do I have 8TB of new storage, but I can access all the drives in the old MacPro. The two CD/DVD drives on the MacPro remain available, if needed. I will get rid of the old MacPro once the new one arrives and replace the MB Air with the new MacPro, so I will need to buy an external CD/DVD drive. 8TB of storage is enough.

Basic phone advice

I currently have a KIN2 which has been hit and miss the last two years. It's now time for us to upgrade so am looking for a basic phone which is good for texting (which we do more than talk).
I'm not seeing a lot of good ratings for Verizon's offerings. I don't care about camera, music or browsing. It's all about texting/voice for us.
Thanks for any advice in advanced.

here's a couple of those threads I was thinking about:
https://community.verizonwireless.com/message/852346#852346
https://community.verizonwireless.com/message/853226#853226

Basic Questions/Advice

I would like to create a series of instructional videos that will be placed on a DVD and become linked from a main menu. Some of the primary links on the main menu will open new menu pages with additional links for other videos.
1.) I am not sure if I need DVD Studio Pro or if iDVD will be sufficient?
2.) I am also trying to decide if it should be designed to work only on computers, home players, or both. Is there anything special I should be aware of in order to make sure the disc can be played on both a home computer and a home player? These videos will be for a school so I would like the discs to be playable in both if possible.
Thanks for any advice!!

1.) I am not sure if I need DVD Studio Pro or if iDVD will be sufficient?
Based on what you described it sounds like you can do this in iDVD if you have it (you probably do) DVD SP opens up more control and other features, but also has a higher learning curve. But based on your description none of those things are necessary for you right now.
2.) I am also trying to decide if it should be designed to work only on computers, home players, or both. Is there anything special I should be aware of in order to make sure the disc can be played on both a home computer and a home player? These videos will be for a school so I would like the discs to be playable in both if possible.
A standard DVD should work on both standalone players and also computers (that have DVD Drives of course) - there are issues in general where some computers or players can behave strangely, but for the most part iDVD will work fine. Strangely enough, I have friends who cannot get DVDs authored in DVD SP to work properly on some of their players, yet iDVD discs work fine.

Basic transition between two pictures (MCs)

I'm trying to implement a typical gallery fade transition
between two pictures when a thumbnail is clicked, but the tweens
aren't showing. The individual pic information is loaded from an
XML file, not the library. The correct picture is displayed, but it
just flickers as if I was doing a straight assignment and the
tweens weren't even there.
I've got one MC on the top layer to hold the old image, and
one on the bottom layer to load the new image. When it's loaded I
want to fade out the top and fade in the bottom. At one point while
playing around I did get one of the tweens to work but at the wrong
time, so is this a timing issue?
A nudge in the right direction would be appreciated!
David

Not really, it was more for organizational purposes when I
was starting out. At this point it's all down in just one layer.
As I understand it, the screen does not update during the
event, only after. Which would explain why things aren't doing what
I expect. But if that's the case, where should the transitions be
implemented? Every example I've found so far has all the images
added to the library at design time, or does a workaround like
having the image slide in and out of the screen so you don't need a
transition.
I tried putting the tweens in the photoLoader complete event
and that didn't work either.
David

Requesting basic architecture advice, please

Hello all,
I've got a situation where a customer will make a request of a web app and needs to receive information back from the web app anywhere from 30 minutes to an hour later. This is well beyond the length of a reasonable HTTP timeout, and even if I extended the timeout and kept the session alive, I'd be worried about running out of resources as this will get many, many hits.
Can you suggest an approach that might work here, please? Would you put an app server at each end and just pass http calls to servlets back and forth? An ESB with two clients so they can pass messages back and forth?
Thanks in advance for your time!
Rgds,
Bret

You will want to have the initial request be asynchronous. Simply return a response to the client that the request was properly formatted and is being processed. From that point, you have a few options:
1. Use email or pager notification to let the user know that the request has completed
2. Use AJAX or something similar to update an area of the page when the request has completed
Regardless, you will be passing back to the user a token of some kind. When they request the results of the report/etc. they will furnish the token, which you can use to fetch the results that were previously calculated. You might also have a need to clean out the results of processing, say overnight, if the results should not persist indefinitely.
- Saish

Mastering advice

Hi all:
I was hoping for some basic mastering advice using Logic Pro inclusive plug-ins. Knowing that mastering is its own HUUUGE animal, I am simply looking to establish some basics to help make my song standout a bit more.
Basically my plan was to bounce my track down to 24bit split and put it into a new clean session. I was planning to start first with the multipressor then EQ then fininsh with the limiter.
-Is this chain ok or should the EQ be before the multipressor?
-Should I use the Linear phase EQ opposed to the channel EQ due to the manuals stated high quality, more intensive cpu characteristics? Im assuming this all means it’s a better EQ...
-For basic EQ, I was planning to simply roll off below 50Hz, cut some at 400 Hz to remove any muddiness, and slightly boost above 10KHz for some brightness. Shoud I use multiple LP EQ's doing these separate? Im a bit concerned about delay compensation and artefacts.
-Should I use the regular or adaptive limiter or both?
-The manual states that Tracks "normalized" to 0dB will sound 2 dB louder with adaptive limiting. Where in Logic do you go about "normalizing"? Is it possible to normalize the entire 24 bit split files or should I have normalized each separate track (how does this affect instrument tracks?) as I produced the song?
I know theres a lot to ask here so if anyone would like to answer one or two based on their expertise I would appreciate it very much.
Thank you

Whoa dude... I'm on your side!
If you think you're being scolded for wanting to use plug-ins, please re-read it. No one is chiding you for using plug-ins (I use them when the song dictates). The question was, how do you know you need them? If it's because you read it in a book, or a course, then read Bob Katz's Mastering Audio (I believe that someone already suggested it as well), and he'll give you some reasons why you don't need them.
Regardless of whether a mix is really bad or good, mastering includes some level of final compression, EQ, and limiting...right or Wrong?
Right, if you believe that it will help your track sit well with the rest of your tracks on a CD.
Wrong, if you believe that it will make a bad mix sound good. Also wrong if you believe that plug-ins are a magic bullet that will all of a sudden turn any mix into a hit or give it the "professional touch".
Note carefully that this is based on the operative word: includes.
Like John stated, if you get it right in the mix, then the less you need plug-ins. Treating the sounds with EQ & compression is a part of mixing. Again, that is if it requires it as well. Helping them find their place in a mix is another part. There are also other little things that can only be done in a mix. If that certain something is not in the mix, no amount of mastering will put it there. No doubt, you have invested a lot of time in your mix. Does it pull you in? Does it make you want to shout "YEAH!"? Does it make you move? If any of these are a 'no', then revisit the mix (take a few days away from it completely, if necessary).
You're mentioning EQ and Compression as part of mastering. However, did you use any mix bus compression when mixing down? As well, did you apply any EQ on the output of your mix? For all you know, that may be all your mix needs.
By no means can I afford to go a mastering engineer either (almost all of the artists I produce/record out of our church have very little means as it is), which leave me doing the task. However, each song is different. Some require a bit of limiting; some require nothing; others require compression, EQ, limiting and possibly some harmonic exciters and reverb. However, it is to make everything sit together so that the listener can go through the entire CD without thinking something is amiss. If you were to pick any two songs off any of the CD's I've done, it's almost guaranteed that the processes were different on them. I can give you a process I use, but that would only apply to a certain song (thus, you'd have to hear the song as well).
Don't think you're being torn down for asking. Far from it. We both want the same thing: something that sounds professional.
jord

Advice on writing kernel module for old pen device (ISA)

I have not really a programming question, I need an advice.
I have an old mobile computer for which no driver exists for the pen pointing device yet. Although it has USB so I can use a mice, it would be very nice if I could use the pen under linux. It came to my mind that this could be a good start to get into kernel programming since I have a problem to solve. It functions well under Windows NT and I know the address range it uses from driver.
So, I have no imagination how hard it can be to program a device driver without any documentation. I need basically an advice on what the possible caveats may be and if I should start the project at all.

stb wrote:So, I have no imagination how hard it can be to program a device driver without any documentation. I need basically an advice on what the possible caveats may be and if I should start the project at all.
well, there's documentation
Kernelnewbies.org is a good place to start. Heaps of documentation, and importantly, help for when you get stuck.
Firstly, if you want a good introduction the kernel, there's Robert Love's Linux Kernel Development.
I bought this one myself, it's a really good read, well written, and covers lots of interesting things.
http://www.amazon.com/Linux-Kernel-Deve … 0672327201
Then, there's Linux Device Drivers, 3rd Ed. Edition is important, Ed3 is 2.6.x, Ed2 is 2.4.x. Big difference.
http://www.amazon.co.uk/Linux-Device-Dr … 874&sr=8-1
This is available for free in PDF:
http://lwn.net/Kernel/LDD3/
Hope that helps,
James

IPv4 to IPv6 transition thesis

             Hi,
I'm doing Bachelor thesis, the subject is :"IPv4 to IPv6 Transition". I hope you give me titles of books you recommend.
Also,I'd be happy if you give me a few tips.
right now,i need a topology for each transition mechansim with the configuration commands .
and how to configure an IPv4/IPv6 host?
i've already finished CCNA exploration 1 and 2,and now i'm enrolled in a CCNA exploration 3 class.my instructor has not been trained yet on using IPv6 . so,the whole subject is new for me
i'm sorry if this message was badly written , because i'm not that good in english.
yours faithfully,

You might consider the RFC series.
We have been thinking about what we originally called "IP Next Generation" and then called "IPv6" and the requirements for a transition for about 20 years. When we started, we thought about requirements, and over time we have described methodologies and experience with those methodologies. There is ongoing work, primarily in the IETF's IPv6 Operations Working Group (). The current "received wisdom" is probably summarized in RFCs 4213 (
http://www.ietf.org/rfc/rfc4213.txt) and 6180 (http://www.ietf.org/rfc/rfc6180.txt).
Walking through that history means walking through the following. Note that many of these are pretty old, and have been replaced or updated by other documents.
http://www.ietf.org/rfc/rfc1671.txt
1671 IPng White Paper on Transition and Other Considerations. B.
     Carpenter. August 1994. (Format: TXT=17631 bytes) (Status:
     INFORMATIONAL)
http://www.ietf.org/rfc/rfc1933.txt
1933 Transition Mechanisms for IPv6 Hosts and Routers. R. Gilligan, E.
     Nordmark. April 1996. (Format: TXT=47005 bytes) (Obsoleted by
     RFC2893) (Status: PROPOSED STANDARD)
http://www.ietf.org/rfc/rfc2185.txt
2185 Routing Aspects of IPv6 Transition. R. Callon, D. Haskin.
     September 1997. (Format: TXT=31281 bytes) (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc2893.txt
2893 Transition Mechanisms for IPv6 Hosts and Routers. R. Gilligan, E.
     Nordmark. August 2000. (Format: TXT=62731 bytes) (Obsoletes RFC1933)
     (Obsoleted by RFC4213) (Status: PROPOSED STANDARD)
http://www.ietf.org/rfc/rfc3574.txt
3574 Transition Scenarios for 3GPP Networks. J. Soininen, Ed.. August
     2003. (Format: TXT=23359 bytes) (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc3750.txt
3750 Unmanaged Networks IPv6 Transition Scenarios. C. Huitema, R.
     Austein, S. Satapati, R. van der Pol. April 2004. (Format: TXT=48153
     bytes) (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc3904.txt
3904 Evaluation of IPv6 Transition Mechanisms for Unmanaged Networks.
     C. Huitema, R. Austein, S. Satapati, R. van der Pol. September 2004.
     (Format: TXT=46844 bytes) (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc4038.txt
4038 Application Aspects of IPv6 Transition. M-K. Shin, Ed., Y-G.
     Hong, J. Hagino, P. Savola, E. M. Castro. March 2005. (Format:
     TXT=69727 bytes) (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc4213.txt
4213 Basic Transition Mechanisms for IPv6 Hosts and Routers. E.
     Nordmark, R. Gilligan. October 2005. (Format: TXT=58575 bytes)
     (Obsoletes RFC2893) (Status: PROPOSED STANDARD)
http://www.ietf.org/rfc/rfc4215.txt
4215 Analysis on IPv6 Transition in Third Generation Partnership
     Project (3GPP) Networks. J. Wiljakka, Ed.. October 2005. (Format:
     TXT=52903 bytes) (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc4942.txt
4942 IPv6 Transition/Co-existence Security Considerations. E. Davies,
     S. Krishnan, P. Savola. September 2007. (Format: TXT=102878 bytes)
     (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc5211.txt
5211 An Internet Transition Plan. J. Curran. July 2008. (Format:
     TXT=17158 bytes) (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc6157.txt
6157 IPv6 Transition in the Session Initiation Protocol (SIP). G.
     Camarillo, K. El Malki, V. Gurbani. April 2011. (Format: TXT=32492
     bytes) (Updates RFC3264) (Status: PROPOSED STANDARD)
http://www.ietf.org/rfc/rfc6180.txt
6180 Guidelines for Using IPv6 Transition Mechanisms during IPv6
     Deployment. J. Arkko, F. Baker. May 2011. (Format: TXT=49679 bytes)
     (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc6219.txt
6219 The China Education and Research Network (CERNET) IVI Translation
     Design and Deployment for the IPv4/IPv6 Coexistence and Transition.
     X. Li, C. Bao, M. Chen, H. Zhang, J. Wu. May 2011. (Format: TXT=44774
     bytes) (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc6264.txt
6264 An Incremental Carrier-Grade NAT (CGN) for IPv6 Transition. S.
     Jiang, D. Guo, B. Carpenter. June 2011. (Format: TXT=31881 bytes)
     (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc6586.txt
6586 Experiences from an IPv6-Only Network. J. Arkko, A. Keranen.
     April 2012. (Format: TXT=52062 bytes) (Status: INFORMATIONAL)
http://www.ietf.org/rfc/rfc6589.txt
6589 Considerations for Transitioning Content to IPv6. J. Livingood.
     April 2012. (Format: TXT=68822 bytes) (Status: INFORMATIONAL)

Problems with transitions in 10.0.6

I just started a new project with 10.0.6 and have found two things. First I see they have removed the ability to set a transition on the timeline using the right mouse button. I have gotten used to doing it this way and now its gone. Now I have to move my hands and type command t. To bad I liked having it in the drop down menu. Also I found that anytime I set a transition between basic text on the time line and a video source I now get flashing during the transition even after rendering. I hope this magically goes away. Anyone else having these troubles. If so is there a fix.

If you updated FCPX .0.6 over 0.5, you might be experiencing some weirdness. The best practices from Apple, I believe, was incomplete.
Try deleting preferences first (and I almost never recommend this! http://digitalrebellion.com/prefman) I had to do a complete "fresh" re-install after completely deleting any traces of FCPX. (http://support.apple.com/kb/HT5149)
For your first issue: the Basic Cross Dissolve is in the Effects browser under Dissolves. Just position the playhead either at the cut (up down arrows will position at cut edges) or over a clip (and the transition will be added at the front and back ends) or select several clips in the storyline -- and double click on the cross dissolve transition in the browser to add them. [Getting used to typing Command T is probably marginally easier -- plus, now you can set your choice of default transition by right clicking on any transition in the browser and selecting Make Default from the popup.]
The Add Cross Dissolve is still available with right click ON A GAP... go figure... By all means -- send Apple some feedback!
I am not experiencing your second problem. A basic transition from Basic text to a clip is smooth.

24p Advanced on P2/Hard Drive - First Timer Questions

I'm getting ready to edit a project that is going to be shot on a Panasonic HVX 200- onto 8 gig "P2" cards, downloading them on set to a mini mobile editing system to a Digital Hard drive. The production company is going to send me the hard drive. It will apparently be shot 24p advanced. Normally, everything I've worked on for years has been shot on 35mm or 16mm and transferred to beta or Dbeta for me to edit with. I will not be finishing this project - only offlining, but I have some questions:
I can edit 24p Advanced HD with FCP, correct?
Since It's only going to be on a hard drive, should I transfer it to my CalDigit SATA RAID to edit with?
I use an AJA io SDI box and the new JVC flatpanel HD/SD broadcast monitor. Will I be able to output this on my monitor with this setup?
Anything special to look for when outputting 24p EDLs?
Basically, any advice on workflow with this would be greatly appreciated. I'm an old-school, film and Avid convertee and I hope to make a smooth transition to HD.
MacBook Pro, FCP 5.1, AJA io, Caldigit SVRDuo 1.5TB, Lacie Rugged FW Drive Mac OS X (10.4.8) Other Macs/Editing Systems Owned

The raw P2 files. They're in a folder with the job name. It's listed "Card 1", "Card 2", etc... I'm copying them over as we speak to the RAID.
No no no. STop...stop now. That is NOT what you are supposed to do. You need to import the footage FROM that drive using the P2 IMPORT (or Log and Import...whatever the FCP 6 term for it is)...LEAVE the raw on the Lacie. Importing them converts them to Quicktime files you can edit.
You gotta watch this tutorial before you go ANY further:
http://forums.creativecow.net/cgi-bin/pagewrapper.cgi?forumid=8&page=http://www.creativecow.net/articles/ross_shane/p2workflow/index.html
When I create a Capture Scratch folder, I tend to get several "Capture Scratch" folders inside of that folder (as opposed to having them all in the OMFI folder in the Avid). How do I keep them all organized into one folder (or do I need to do this?)\
Stop thinking in Avid terms now. Get that out of your head.
When you choose the CAPTURE SCRATCH, choose the drive itself. NOT A FOLDER ON THAT DRIVE. This way you'll have all the right folders on the base level of the drive.
How do I keep them all organized into one folder (or do I need to do this?)
Click on Underdog to get to my blog...then click on the DVD on the right hand side. This is my tutorial DVD on how to organize yourself in FCP. FCP does things VERY differently from an Avid, and if you take the Avid approach you'll get lost and burried, FAST. Buy this DVD (shameful plug) and watch it. But watch that tutorial first.
Again, this will be conformed elsewhere, but hopefully, my EDL and ref tape will do the trick.
Get this figured out now. Talk to who is finishing it because this workflow is VERY different from a tape based one. There is no offline, you are cutting at full resolution. There is no conform, as there will be no recapturing of the footage. It is unnecessary. They need to talk to the finishing house now and get this figured out before you do something you shouldn't.
Shane

Text Message incomplete or missing? Also-SMS editing / backspace malfunction...

First issue - sometimes I received text messages that are missing the last few words/characters. I don't think this is an Android or iPhone originated issue as this happens at random from people that I know have different types of phones. Sometimes the 160 character split will break up the message and send the rest in another message, but most of the time I never see the end of the message. I currently use the existing text messaging app in conjunction with the SMS pop-up. The issue was prevalent when I used Handcent and then uninstalled it to see if that was the problem. I have also uninstalled SMS pop-up to see if it was the problem with no luck. I have looked over the settings multiple times and still cannot find anything that would be causing this. Suggestions are welcome.
Second issue - when editing a text message in portrait mode I may erase multiple characters by holding down the backspace key. On occasion, the app flips out, reverts to showing the very first message that was sent or received for the contact, freezes momentarily, and then two buttons appear on the bottom giving me the option to Cancel or Delete. I will hit Cancel or use the back button on the bottom of the phone multiple times before it will return to my message, which at this point has saved as a draft. This is EXTREMELY frustrating. It does it only at random, but it seems to be getting more frequent. The only option most of the time is to go Home and then return to text messages, find my draft, and use the backspace key carefully (and one quick push at a time to erase) so as not to invoke the same issue.
I think both of these are bugs that may be inherent with this phone in particular or possibly Gingerbread...
Thanks!
-Wes

I've been having this same issue for the past few months, in my case the problem seems to be more prevalent with text messages originating from other carriers (but not always, occasional partial incoming text issues from Verizon wireless phones as well). I called technical support, followed all their advice (basic tech advice, power cycle, remove sim, reboot, etc.) and was also transferred to HTC support that recommended a hot fix, which didn't really do anything to resolve the issue, also then did a factory reset and still no resolution. Not sure what other options I have....besides waiting for a new device when I am able to upgrade. Off topic, I think its Bee S to not be able to upgrade to a new device within 2 years, when Verizon does not fully support, properly updated/hotfix, existing issues in a timely manner...why is it that we are using and outdated OS, when a new one is out and available. Another compelling argument to purchase an iPhone (on any carrier), one device, one OS.....everyone gets an update at the same time, and phone issues are rapidly resolved. I can continue my rant, but I'll leave it as is...same issues, different day and I'm sure you've all heard the same rants of frustration.

Things I cannot make work in FCPX - Hoping somebody can tell me I just missed it

Ok reading this after typing I think this is mostly a feature wishlist for the next version - outside of things already discussed like XML export.
1. Importing footage that is on a different disk duplicates the original media. I have the same problem if I have an event on the same disk then I move it to another - the 'Original Media' folder merrily starts replacing the 4kb alias files with the original media. I think this is a bug since there is a checkbox that is supposed to prevent this.
2. There is no option to not duplicate media when importing from camera which is required to import AVCHD footage. I think the lack of option counts as a design bug esp. since FCP7 could do this just fine.
3. There is no scrubber bar under the viewer - it is ergonomically annoying to have to move the mouse over on the left in the event library. Skimming over this bar would also be a lot easier and more useful if combined with a scroll wheel option to get some precision in the selection - the current skim thing is only good for finding a clip if you have a mess and for a very rough cut unless you have some kind of super stable hands.
4. I can no longer move frames for footage under the viewer using the mouse wheel (surface on the Magic Mouse). Please bring this back
5. Skimming is ok, if setting context was clearer - e.g. I think it works really well in the project view where you have to click on the project to select it before skimming starts. Can we have that option for all other places too? My S key is going to wear out.
6. On the same note, skimming sometimes fails to turn back on - the icon highlights but no skimming. I have only noticed this problem in the timeline.
7. Some way to bring in created (as opposed to recorded) footage is desperately needed - even if it is not full integration with the timeline (aka Send to Motion) at least let me bring footage back in without having to reimport it as though it was a completely new clip. There may be cases where that is useful and somebody might want to use auditioning for it, but for other cases where you have to redo all your editing, find all the places you have used it and hope you didn't miss any is really painful.
8. Speaking of integration - at least integrate to Motion. Let me rotoscope a project onto a bus passing by that is used in another project without having to pretend I can do it all with zero iteration somehow exporting from one app and importing to the other... just one time with perfect final cut results.
9. How do I sample noise? I have a lot of cases where a segment of footage has say a car going by - in the past I used SoundTrack to handle this - you 'set noise print' then apply noise reduction - is there a way to do this with an audio filter I have not found yet? The basic noise reduction stuff does not seem too useful to be honest - maybe if my footage had wind noise - but it doesn't. It has a stupid car in the middle of a wedding.
10. (deaming) Some way for Motion to see footage organized in events... put another way, why are events inside FCPx - they should be a shared media function - once I have organized footage, any application I have that wants to use it should be able to - not just 'Share | Media Browser' for project output. There may be cases where I have organized footage I want to use in Motion and where I want to output the result of motion as another clip in an event (modifiable please). Seems like events are underperforming their potential. Basically how can I send a subclip - sorry - keyword identified range selection - to Motion without making a project putting just that clip in it and then exporting (sorry, sharing) it as a quicktime movie? Luckily for me I don't have to worry about pro-res being a proxy format - I would feel sorry for somebody trying to do this with 4k footage.
11. Many people seem to have an issue with the term Event - can we have a preference to rename it? Say Media Library and Shelf or something more abstract (since Bin is too old-school) so it does not imply more meaning than it has. I have to include some low-priority requests so the good ones will make it right?
12. Projects are way too big. It will be hard to archive them etc. without messing about with their internals and I'm never quite sure that is safe. An option when copying them or moving them to strip out render files would be nice as would an option to clean them up - they should not really contain things other than my work - my edit decisions - temp file junk should live elsewhere or at least be an easy and supported way to eradicate when I'm done working with something.
13. I'm using disk images to manage unmounting events and projects without having to purchase a dozen different locally attached storage devices. This is a hack to workaround for an inability to manage some kind of workspace for events and projects - personal stuff vs. paid stuff at the very least - some formal support for this would be better. Never sure if I should trust image files for this or if there is some deep gotcha to using any of this stuff over a network that I'm going to get hosed by since there is no explanation of *why* network volumes are evil to FCPx.
14. Ok, so FCPx is missing too many features to import old files - can you at least make an import for some things? The media handling side - the bin organization from an old FCP project? Maybe some basic importing - if I have to redo old work 99% of things do not involve any more than a basic transition - the rest is all clips and laying them out properly. Ok and simple compositing would be nice too. I have not found anything I cannot do in a magnetic timeline that I could do with tracks - fine the import will have cap clips and non-linked clips etc. but as long as it plays the same that is an ok starting point.
Ok its the weekend. Time to go back to the family and stop dreaming.
btw I tried going back to FCS7 and Premiere - they are both more capable, but both feel quick clunky after using FCPx - I find myself getting annoyed easily. The scopes and rendering in FCPx is really fantastic and the organization features are way better than subclips (physical storage issues aside). But it has taken a while for me to get to this conclusion; I kept stopping and muttering 'that's it - I want my money back'. But now I hate life since I have no editor I'm happy with now - thanks - you gave me something I get annoyed with, but have made what I used to use equally irritating but for different reasons. Yes yes I know Apple does not read these forums, this is just a personal monologue and no I'm not trying to inflame somebody who's ability to feed his children has been seriously messed with - I really feel for those that depend on editing for a living using FCP7 - I'm just a moonlighter - so please don't respond with vitriol since I sure don't want to end up trying to defend or promote FCPx.

Which ones would those be? Developers or Apple engineers? I know they peruse LAFCPUG, not here.
Regardless. USE FRAKIN FEEDBACK.
That's the only way it's going to help us all, if everyone makes the effort to use it, otherwise you're just blovinating, and there's enough of that on these forums.

Please help with strange monitor/Lightroom 4 interaction problem

I bought a Dell Ultrasharp U3011 yesterday, and I'm now facing a very strange problem. It's sort of related to the common discussed issue of Lightroom's color management, but there is a twist here. I'll explain.
The monitor I had been using (and still have) was a Samsung SyncMaster 244T. I had no problems at all with it.
With the U3011, I've run into this problem:
-When I view files in Lightroom 4, the colors are muted and contrast low. The same files seen in Xnview, ACDSee Pro (with the color management turned off), Digital Photo Professional (colorspace set to sRGB), are much more vivid. In Photoshop, if I use the default color setting, it looks muted like Lightroom (I'm guessing because Adobe products have default color profile set to ProPhoto RGB), but if I set the color profile to the monitor's profile, it becomes vivid and matches the other software I mentioned. If I use any other profile such as sRGB IEC81966-2.1, ProPhoto RGB, Adobe RGB, etc, it doesn't match the other software I mentioned. This is strange because the other ones match each other because they are set to sRGB, but in Photoshop, even if I set the color profile to sRGB, it still doesn't match.
-In Lightroom 4, even if I use Soft Proofing, nothing changes. It's as if Soft Proofing is broken--it doesn't do anything, no matter what color profile I choose.
-Now, here's the twist. I didn't have any of these problems when I use the 244T. This leads me to assume that the problem is how the U3011 is interacting with Lightroom. I did a quick comparison of opening up the same image on both monitors in ACDSee Pro, and they looked identical. (At this point, I had the U3011's preset set to sRGB. This is the only preset that makes the U3011 look identical to the 244T).
Next, I did an experiment, and I was very surprised by what happened. This is what I did:
With both monitors as a dual display setup, I turned on Before/After comparison in Lightroom (made sure both version had the same setting and look identical by copying the After's setting to Before). I then moved Lightroom's window so that one photo is seen on the U3011, and the other shows up on the 244T. And OMIGOD, they looked different! Why is this happening? I've already established that the same image looks identical on both monitors when viewed with ACDSee Pro, but in Lightroom, they looked different on each monitor.
And then things got even more weird. When I dragged the Lightroom window fully to one monitor or the other, Lightroom actually started changing the colors right before my eyes as it responded to which monitor was displaying which photo! Lightroom was somehow interacting with the monitor in real-time. So if the Before looked muted on U3011 and the After looked vivid on the 244T, when I drag the whole window into 244T, the muted Before will stay muted for about a second or so, and then it'll suddenly change and become identical to After. And when I did the reverse (drag the window into U3011), the reverse also happened--the vivid After will stay vivid on U3011 for about a second or so, and then it would suddenly change and become muted. Lightroom was identifying each monitor's color profile setting and changing the images according to which monitor was doing the displaying, and when the images were split between the two monitors, Lightroom was slitting them into two different settings to match whichever monitor is displaying which side.
So what the hell does that all mean, and what can I do to get Lightroom to display the photos so that they look the same as on all the other software I mentioned (so I don't have to play the guessing game of editing the images, export them out to other software to check how they turned out). Also, remember that I didn't have this problem with the 244T--Lightroom displayed the photos the same way as the other software I mentioned. The problem right now is that the U3011 is somehow causing Lightroom to display the photos differently, and no color profile presets in the OSD control can make them match.
I need to solve this problem, or else my last resort would be to return the U3011 and try another brand/model and see if that helps.
Any ideas?

Yes, that's basically sensible advice you got there (but I was more succinct ).
An important point that was mentioned over there is that you must not confuse document/source profile with monitor profile. They are both links in the color management chain, but they serve different purposes. The document profile defines the colors in a standard color space. The monitor profile describes the monitor's own native color space - its response to the RGB numbers it's fed. So one is translated into the other, by the application on the fly, through a normal profile conversion, and that way the colors appear on-screen as intended.
If those two profiles/color spaces are roughly similar, as they would be in the case of an sRGB document displayed on a standard gamut display - then you can get by without color management. It won't look too far off. But a wide gamut monitor changes the rules, because its native color space is not similar to sRGB, it's much closer to Adobe RGB.
Anyway, this is what color management is about. Any profile can be translated into any other. So in this context it doesn't really matter what color space the document is in - as long as you have a good monitor profile it will display correctly (within practical limitations). Lightroom is a sort of special case because its internal working color space is not one of the standard ones, instead it's a modified ProPhoto space with linear gamma. But the basic principle is exactly the same: source profile > monitor profile.
Just to go a little more in-depth while I'm at it: When you calibrate a display you actually do two separate things. You first calibrate it to a more or less standardized response. But that's just a linear one-dimensional correction. It does nothing about how color is actually reproduced, how red is red for instance. The calibration is global and affects everything system-wide because it's read into the video card or monitor hardware.
Then, once calibrated, a monitor profile is made. This is a full, complete and accurate description of the monitor's behavior, in three-dimensional color space. The precision level is much higher. This profile is used, by color managed applications like Lightroom and Photoshop, to display the image.
Other applications that are not color managed will simply ignore this profile, and send the RGB numbers straight through to the display, unmodified. With a standard gamut monitor (and an sRGB document) the difference won't be too dramatic and you may not notice it unless you look closely. But a wide gamut monitor will make the difference jump out immediately.

Basic transition advice

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