Ex Avid editor, now FCP
Is there a way to add multiple transitions to a timeline with one click?
For instance, if you want to put a dissolve between every clip on your timeline,
is there a way to do them all at once, or do you have to do each one at a time?
thanks for helping
Message was edited by: teresita
Is there a way to add multiple transitions to a timeline with one click?
ONE click...no. But a couple, sure. Mark IN and OUT where you want this to occur. Then highlight all the clips and drag them into the CANVAS window and choose OVERWRITE WITH TRANSITION. It will do the default 1 second dissolve.
Shane
Similar Messages
-
Avid editor straches head...subclips again
This is maybe a logging q/workflow q/
...Let me start by saying, as an AVID fan and editor of nearly a decade, FCP5 HD is amazing in so many ways. Pick up in the UK is hopfully improving with the BBC and others investing.
I used FCP last year on a HD 50 min US Discovery Channel doc and I had a love/hate relationship. Certain aspects of the app were just so good (timeline editing, composting, etc). Some however were woeful. I am not going to try and compare Avid with FCP but I must admit to maybe having a legacy workflow that doesn't always translate. I am sure that as FCP works its way into the pro end of the market there will be many other Avid editors scratching their heads. Now I'm on another (my 2nd) FCP project and I'm concerned...
One of the issues that KILLS me is subclips, and PLEASE DON"T SAY THAT YOU SHOULD CAPTURE YOUR CLIPS LOGGED ALREADY. We don't capture our clips, assistants load the tape and we view when its all in , maybe a week later if there's 25 tapes, whatever.
There's no way that they're gonna pay your edit rate to sit in a suite with a director and view tapes, spool, capture, etc. if there's hours of footage. And a director who's worked on Avid for years isn't going to give exact clip info to the digitiser, it'll be like, 'go in there and out 25 mins later')
So now thats out the way, let's see if you can help me out.
Say we have a 30 min clip with GVs, IVs, and CA.
Normally I subclip each q/a in the IV, each GV and each CA, etc.
Then I may stick them in multiple bins, or not. Depends on the project. Some time later I come back , and edit them into a sequence and the director says, there's a great shot a few minutes up tape of that shot on the timeline. So I want to reference the original clip. I matchframe (f) the timeline clip, the viewer loads the subclip. Then I reveal master clip (SHIFT f), an option that is sometimes greyed out for various confusing reasons. That shows me the subclip in the assigned bin. But how do i track back to the the original clip without using the Find command?
In Avid its Matchframe twice and you've loaded the original clip. It always relates back. Not so in FCP.
Lets say also that I want to trim a subclip beyond its in or out, I have to remove subclip limits. Next time I load that subclip, its the entire clip. so the subclip is redundant, its just a renamed version of the original clip. Is there another way to trim the subclip beyond its limits WITHOUT blowing the subclip i/o points? Same applies to adding a dissolve, etc, or anything that needs to reference media beyond the original subclip i/o points.
I think I posted about this before and I had replies suggesting that I had to be more careful choosing i/o points for subclips. Well, i thought this was non linear, random access, non destructive editing. I can do this basic editing technique in Avid versions going back as long as I can remember, why not on FCP 5? Or does FCP really need me to modify my workflow?
Thanks and apologies for the frustrated tone.Say we have a 30 min clip with GVs, IVs, and CA. Normally I subclip each q/a in the IV, each GV and each CA, etc.< </div>
This must be Euro-Avid-speak. My fault. I have never used Avid and never learned anything besides high school Spanish, so translation is necessary.
One of the issues that KILLS me is subclips, and PLEASE DON"T SAY THAT YOU SHOULD CAPTURE YOUR CLIPS LOGGED ALREADY. We don't capture our clips, assistants load the tape and we view when its all in , maybe a week later if there's 25 tapes, whatever.<
Well, i thought this was non linear, random access, non destructive editing. I can do this basic editing technique in Avid versions going back as long as I can remember, why not on FCP 5? Or does FCP really need me to modify my workflow?< </div>
Then you may need to face the unfortunate prospect that you simply will not be able to use FCP in your work. Or you adapt; FCP will never work like your old Avid.
I do have one—possibly helpful—suggestion (besides asking that you purchase the "FCP for ex-Avid users" books that are on the market). Comparing FCP to Avid gets you two things around here: Views from other Avid users (a decidedly small minority around here) and active avoidance. You might get some help from a larger body of the forum's participants by asking about subclips instead of telling us why they blow. We know that part, subclips in FCP are poorly implemented. That's why I try to never use them.
bogiesan -
Export a QT file to give to an AVID editor. What codec?
I have searched the forums but have really not found the answer I am looking for. I have an XDCAM HD sequence and want to export a file to upload to my FTP site so an AVID editor can use it. What should I export it as? A friend of mine said I could download an AVID codec and export it using that. I have no idea how to download the proper codec from AVID if that is the workflow I should use. Any help will be appreciated.
Best,
TomGo to AVID.COM and download the Avid LE codecs. Then convert your XDCAM export (that any machine without FCP will NOT be able to see) to Avid DNxHD 145.
Google search got me this:
http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=263545
"Avid Codecs LE download"
-shane -
I am taking media from an Avid Adrenaline system and want to bring it into FCP to cut. However, the disk w/Avid QTs won't appear on my desktop. It plays fine on the Windows-based Avid (XP, I believe), but my Mac won't see it. I've tried downloading Avid codecs and putting them in my Quicktime Library as recommended by the Avid website, but that doesn't seem to work. I've been told I should try exporting out of Avid using Sorenson or H.264 codecs. Anyone with experience on this so I quit wasting time?
Thanks
IMac Mac OS X (10.3.9) FCP 5.0.1Actually, my experience was that it was QT 7.1.6 that broke the version of the Avid codec I had been using before, not a particular FCP update. I have not tried the codec linked to earlier in this thread.
I have noticed a unique color shift in both luma and chroma when importing Avid codec clips. It takes two color correction filters to correct for this, but I have saved this pair as favorites, and can apply them at the end of the edit.
I would much rather import the clips than recapture, as we're talking about days of recapturing, as opposed to a couple hours of importing. If I can get the codec supported, and I know how to correct for the color shift, I have no qualms about using the Avid media. My question has more to do with whether I will be able to see individual clips in the finder to attempt to import, or whether the media files will be in some format QT and FCP will not recognize, and if so, whether there is anything I can do about it. I don't expect any of the Avid logging info to come along, and I know that even if I were to have Avid editor export a batch list, a reconnect would likely be impossible, and I'd be looking at recapture.
If it were a question of simply creating new QT wrappers on the files, we'll be up against another shortcoming of FCP - the Batch Export process does nont allow the creation of reference movies...
Anyone know about what the Avid media folders look like in the finder?
Thanks much -
Max -
Hi,
New to FCP and just trying to work my way around, but struggling to find a couple of things I'm used to.
Firstly, in AVID I have a 'lock all' shortcut mapped to the keyboard which allows me to lock tracks in the timeline, clips in bins, effects, subclips and most especially sequences so that they can't easily be deleted. I know in FCP I can lock tracks, but I can't find how to lock anything else. I'm sure it's right there in front of me, but you know how it is...
Also, what is FCP's equivalent of 'sync lock' in the timeline ?
Thanks.
20" iMac 2 GHz Intel Core Duo Mac OS X (10.4.7)Avids are different from fcp but you'll make the transition just fine. I did.
Don't think you can lock sequences, but why not duplicate your sequence (which I do at least once a day) and lock all the tracks on the duplicate if you're worried about it. My workflow is to duplicate my sequence each day when I start working. I don't ever(unless I've had a few beers at lunch) make changes to the duplicates. Just so you have an idea of how I work, I name my first sequence, Asembly 1. the next day, I highlight the sequence in the bin and hit option-d which creates a sequence called assembly 1copy. I then rename assembly 1, assembly 2 and start working on it.
FCP by default locks synch in the timeline. It will not allow you to throw things out of synch without warning you unless you lock a track. It took me a while to get used to it, but after a while, it's not a problem.
It seem to remember that there is a book for avid editors making the transition to fcp. Someone will hopefully pipe up with the name. Or you might google the subject.
Good luck and post back with any specific questions. This is a great resource and you'll find a lot of help with a minimum of attitude (although some may disagree on this). There are many experienced fcp editors here who started out on Avids. -
just installed PS 13 elements and loaded pictures into organizer. after using PS editor now organizer is not reloading. I keep getting error message saying organizer unexpectedly quit, do you want to reopen. When I click on it to reopen it doesn't and I get the same message again. I rebooted computer, still did it, I uninstalled and reinstalled the program and I am still getting the same error message. This is on Mac OS with yosemite. Any Ideas Please!!!
Thread 8:
0 libsystem_kernel.dylib 0x00007fff9219f4de mach_msg_trap + 10
1 libsystem_kernel.dylib 0x00007fff9219e64f mach_msg + 55
2 com.apple.CoreFoundation 0x00007fff97717b34 __CFRunLoopServiceMachPort + 212
3 com.apple.CoreFoundation 0x00007fff97716ffb __CFRunLoopRun + 1371
4 com.apple.CoreFoundation 0x00007fff97716858 CFRunLoopRunSpecific + 296
5 com.apple.AppKit 0x00007fff8e85533b _NSEventThread + 137
6 libsystem_pthread.dylib 0x00007fff974c1268 _pthread_body + 131
7 libsystem_pthread.dylib 0x00007fff974c11e5 _pthread_start + 176
8 libsystem_pthread.dylib 0x00007fff974bf41d thread_start + 13
Thread 9:: cr_scratch
0 libsystem_kernel.dylib 0x00007fff921a4136 __psynch_cvwait + 10
1 com.adobe.CameraRaw 0x000000012122478b 0x120c28000 + 6277003
2 com.adobe.CameraRaw 0x00000001211ad48b 0x120c28000 + 5788811
3 com.adobe.CameraRaw 0x0000000120fad001 0x120c28000 + 3690497
4 libsystem_pthread.dylib 0x00007fff974c1268 _pthread_body + 131
5 libsystem_pthread.dylib 0x00007fff974c11e5 _pthread_start + 176
6 libsystem_pthread.dylib 0x00007fff974bf41d thread_start + 13
Thread 10:
0 libsystem_kernel.dylib 0x00007fff9219f4de mach_msg_trap + 10
1 libsystem_kernel.dylib 0x00007fff9219e64f mach_msg + 55
2 com.apple.CoreFoundation 0x00007fff97717b34 __CFRunLoopServiceMachPort + 212
3 com.apple.CoreFoundation 0x00007fff97716ffb __CFRunLoopRun + 1371
4 com.apple.CoreFoundation 0x00007fff97716858 CFRunLoopRunSpecific + 296
5 com.apple.CoreFoundation 0x00007fff977ccef1 CFRunLoopRun + 97
6 com.adobe.ols.library 0x00000001235ebc86 OLSHTTPTransaction::Execute() + 4166
7 com.adobe.ols.library 0x00000001236174f9 OLSServiceTask::PerformMessageExchangeServerPOST(OLSAutoRefPtr<OLSElement> const&, OLSAutoRefPtr<OLSElement> const&) + 1849
8 com.adobe.ols.library 0x000000012360958a OLSServiceTask::PerformMessageExchangeServer(OLSAutoRefPtr<OLSElement> const&, OLSAutoRefPtr<OLSElement> const&) + 1834
9 com.adobe.ols.library 0x000000012361626c OLSServiceTask::ProcessUnhandledMessageList(OLSAutoRefPtr<OLSElement> const&, OLSAutoRefPtr<OLSElement> const&, OLSAutoRefPtr<OLSElement> const&, OLSMessageOrigin) + 1804
10 com.adobe.ols.library 0x00000001235c885c OLSClientSession::ProcessUnhandledMessageList(OLSAutoRefPtr<OLSElement> const&, OLSAutoRefPtr<OLSElement> const&, OLSAutoRefPtr<OLSElement> const&, OLSMessageOrigin) + 124
11 com.adobe.ols.library 0x00000001235c6921 OLSClientSession::ProcessMessageList(OLSAutoRefPtr<OLSElement> const&, OLSAutoRefPtr<OLSElement> const&, OLSMessageOrigin) + 2593
12 com.adobe.ols.library 0x0000000123608d3a OLSServiceTask::ExecuteStateMessageExchangeServer() + 426
13 com.adobe.ols.library 0x00000001236010cc OLSServiceTask::ExecuteInternal() + 1196
14 com.adobe.ols.library 0x000000012361b22e OLSTask::Execute() + 350
15 com.adobe.ols.library 0x000000012361c874 OLSWorkerThreadTaskManager::ProcessTasks(OLSTaskThread*) + 1300
16 com.adobe.ols.library 0x000000012361b454 OLSTaskThread::Run() + 36
17 com.adobe.ols.library 0x000000012363fd88 OLSThread::ThreadProc(void*) + 54
18 com.apple.CoreServices.CarbonCore 0x00007fff9c7108dc PrivateMPEntryPoint + 58
19 libsystem_pthread.dylib 0x00007fff974c1268 _pthread_body + 131
20 libsystem_pthread.dylib 0x00007fff974c11e5 _pthread_start + 176
21 libsystem_pthread.dylib 0x00007fff974bf41d thread_start + 13
Thread 11:
0 libsystem_kernel.dylib 0x00007fff921a475a __sigwait + 10
1 com.adobe.ElementsOrganizer13 0x000000010dce1a84 0x10cc7e000 + 17185412
2 com.adobe.ElementsOrganizer13 0x000000010dce5d15 0x10cc7e000 + 17202453
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4 libsystem_pthread.dylib 0x00007fff974c11e5 _pthread_start + 176
5 libsystem_pthread.dylib 0x00007fff974bf41d thread_start + 13
Thread 12:: com.apple.NSURLConnectionLoader
0 libsystem_kernel.dylib 0x00007fff9219f4de mach_msg_trap + 10
1 libsystem_kernel.dylib 0x00007fff9219e64f mach_msg + 55
2 com.apple.CoreFoundation 0x00007fff97717b34 __CFRunLoopServiceMachPort + 212
3 com.apple.CoreFoundation 0x00007fff97716ffb __CFRunLoopRun + 1371
4 com.apple.CoreFoundation 0x00007fff97716858 CFRunLoopRunSpecific + 296
5 com.apple.CFNetwork 0x00007fff8fcfac80 +[NSURLConnection(Loader) _resourceLoadLoop:] + 434
6 com.apple.Foundation 0x00007fff90df190a __NSThread__main__ + 1345
7 libsystem_pthread.dylib 0x00007fff974c1268 _pthread_body + 131
8 libsystem_pthread.dylib 0x00007fff974c11e5 _pthread_start + 176
9 libsystem_pthread.dylib 0x00007fff974bf41d thread_start + 13
Thread 13:: com.apple.CFSocket.private
0 libsystem_kernel.dylib 0x00007fff921a43fa __select + 10
1 libsystem_pthread.dylib 0x00007fff974c1268 _pthread_body + 131
2 libsystem_pthread.dylib 0x00007fff974c11e5 _pthread_start + 176
3 libsystem_pthread.dylib 0x00007fff974bf41d thread_start + 13
Thread 14:
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1 com.adobe.ElementsOrganizer13 0x000000010dce02fd 0x10cc7e000 + 17179389
2 com.adobe.ElementsOrganizer13 0x000000010cd34e19 0x10cc7e000 + 749081
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Thread 15:
0 libsystem_kernel.dylib 0x00007fff921a4136 __psynch_cvwait + 10
1 com.adobe.ElementsOrganizer13 0x000000010dce02fd 0x10cc7e000 + 17179389
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Thread 16:: JavaScriptCore::BlockFree
0 libsystem_kernel.dylib 0x00007fff921a4136 __psynch_cvwait + 10
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2 com.apple.JavaScriptCore 0x00007fff99593aaa JSC::BlockAllocator::waitForDuration(std::__1::chrono::duration<long long, std::__1::ratio<1l, 1000l> >) + 170
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4 com.apple.JavaScriptCore 0x00007fff9937814f WTF::wtfThreadEntryPoint(void*) + 15
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6 libsystem_pthread.dylib 0x00007fff974c11e5 _pthread_start + 176
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Thread 17:: JavaScriptCore::Marking
0 libsystem_kernel.dylib 0x00007fff921a4136 __psynch_cvwait + 10
1 libc++.1.dylib 0x00007fff8fb2ac95 std::__1::condition_variable::wait(std::__1::unique_lock<std::__1::mutex>&) + 47
2 com.apple.JavaScriptCore 0x00007fff99382f1b JSC::GCThread::waitForNextPhase() + 171
3 com.apple.JavaScriptCore 0x00007fff99382d78 JSC::GCThread::gcThreadMain() + 88
4 com.apple.JavaScriptCore 0x00007fff9937814f WTF::wtfThreadEntryPoint(void*) + 15
5 libsystem_pthread.dylib 0x00007fff974c1268 _pthread_body + 131
6 libsystem_pthread.dylib 0x00007fff974c11e5 _pthread_start + 176
7 libsystem_pthread.dylib 0x00007fff974bf41d thread_start + 13
Thread 18:: JavaScriptCore::Marking
0 libsystem_kernel.dylib 0x00007fff921a4136 __psynch_cvwait + 10
1 libc++.1.dylib 0x00007fff8fb2ac95 std::__1::condition_variable::wait(std::__1::unique_lock<std::__1::mutex>&) + 47
2 com.apple.JavaScriptCore 0x00007fff99382f1b JSC::GCThread::waitForNextPhase() + 171
3 com.apple.JavaScriptCore 0x00007fff99382d78 JSC::GCThread::gcThreadMain() + 88
4 com.apple.JavaScriptCore 0x00007fff9937814f WTF::wtfThreadEntryPoint(void*) + 15
5 libsystem_pthread.dylib 0x00007fff974c1268 _pthread_body + 131
6 libsystem_pthread.dylib 0x00007fff974c11e5 _pthread_start + 176
7 libsystem_pthread.dylib 0x00007fff974bf41d thread_start + 13
Thread 19:: JavaScriptCore::Marking
0 libsystem_kernel.dylib 0x00007fff921a4136 __psynch_cvwait + 10
1 libc++.1.dylib 0x00007fff8fb2ac95 std::__1::condition_variable::wait(std::__1::unique_lock<std::__1::mutex>&) + 47
2 com.apple.JavaScriptCore 0x00007fff99382f1b JSC::GCThread::waitForNextPhase() + 171
3 com.apple.JavaScriptCore 0x00007fff99382d78 JSC::GCThread::gcThreadMain() + 88
4 com.apple.JavaScriptCore 0x00007fff9937814f WTF::wtfThreadEntryPoint(void*) + 15
5 libsystem_pthread.dylib 0x00007fff974c1268 _pthread_body + 131
6 libsystem_pthread.dylib 0x00007fff974c11e5 _pthread_start + 176
7 libsystem_pthread.dylib 0x00007fff974bf41d thread_start + 13
Thread 0 crashed with X86 Thread State (64-bit):
rax: 0x00000000000000b0 rbx: 0x00006080000b4460 rcx: 0x00007fff52f7da08 rdx: 0x00007fff52f7d8c0
rdi: 0x00006080001d31a0 rsi: 0x0000000000000000 rbp: 0x00007fff52f7d860 rsp: 0x00007fff52f7d830
r8: 0x00007fff52f7d9d8 r9: 0x00007fff52f7d9a0 r10: 0x0000000000000000 r11: 0x0000000110825b90
r12: 0x00007fff52f7d9a0 r13: 0x00007fff52f7e0e8 r14: 0x00007fff52f7d8c0 r15: 0x00006080000b4460
rip: 0x0000000110825ba6 rfl: 0x0000000000010206 cr2: 0x0000000000000000
Logical CPU: 1
Error Code: 0x00000004
Trap Number: 14 -
Capturing "Now" FCP automaticly making multiple clips
When capturing "Now" FCP is cutting a single clip into multiple clips during capture, on its own. Any suggestions?
HDV 1080i60
G5 Mac OS X (10.4.4)Hi,
it does seem unlikely, but sometimes FCP breaks up continuous shots when working with HDV. Most of the time, this happens towards the end of a shot, so I end up with 3-4 seconds of the first shot.
Very rarely, that happens with MiniDV, too. The TC seems to be fine, but there may be minor problems, and FCP seems to be a bit picky when it comes to that, so you get a TC break when (at least on your deck) there seems to be a continuous TC. And HDV is even worse than DV. But that's just my own experience. Maybe its as simple as your playhead being clogged up?
Cheers,
Colin -
Searching (yet again) for a method to import tracks from Avid NewsCutter into FCP. My young client using NewsCutter in a television newsroom says there are Avid-provided codecs that do allow her to view her Avid tracks in a Quicktime player. Here's the Avid knowledge base article:
http://avid.force.com/pkb/articles/en_US/download/Avid-QuickTime-Codecs-LE-2-3-8 ?popup=true&NewLang=en&DocType=1450
So, if I can play the Avid tracks, can I export the tracks in .MOV to get them into FCP?Very.
Go to Avid.com and download the Avid codecs:
http://avid.force.com/pkb/articles/en_US/Compatibility/en350875
Restart the computer. Then you should see them. You will have to convert them before you edit though. FCP doesn't really work with Avid codecs in real time. -
Hello,
I built a project in Avid Media Composer 3.0 using footage from a Sony XDCAM EX. The problem, I have no way of laying back to tape. My Mojo (I/O device) only supports SD. But I've got this fancy FCP station with a decklink card. So I want to transfer the finished program from avid to FCP so I can layoff to a Sony HDCAM deck.
My question is, what are the best export settings? Sony XDCAM EX shoots in 8 bit, so I don't need a 10 bit codec. So I'm looking for the best 8 bit codec settings out of avid and into FCP.
My idea is to export as an HD Quicktime with the animation codec in RGB color space. Transfer the enormous files via firewire drive. Then, transcoding to ProRes 422 (HQ not needed, only doing 8 bit) and importing into FCP for layoff.
Is that the best possible settings for the cleanest possible show? Am I missing anything? Would an uncompressed Quicktime export be better? Should I forgo the transcoding to ProRes (I'm not sure if my RAID can handle the data rate)? Should I look into an image sequence instead?
Thanks for your help
Chris
PS - If anyone knows how to add closed captioning to this project, let me know. I know I cannot create closed captioning in FCP, I just need to inject the captioning file (.scc) into the video.NO you can't, but I just had to point that out.
I have no suggestions for this workflow, I just wanted to point out that little tidbit. Trying to take a fully onlined show on a different NLE on a different OS platform and output that with FCP isn't something I recommend. It is something I discourage actually. If you must output with FCP, then you need to recapture with FCP. Offline on Avid, Automatic Duck the EDL to FCP, recapture, output. Getting the full res media from one system onto another for output is very tricky...and will add steps of compression.
Shane -
Is "AutomationTool" available in PianoRoll hyper-editor now?
Is "AutomationTool" available in PianoRoll hyper-editor now?
SvKHi SVK,
Long time.
There's a new Logic 8 forum that we should be using for these new questions...besides, no one actually has LP8 yet (unless they signed an NDA).
X -
Is "Automation Tool" available in PianoRoll hyper-editor now?
Is "Automation Tool" available in PianoRoll hyper-editor now?
SvKHi SVK,
Long time.
There's a new Logic 8 forum that we should be using for these new questions...besides, no one actually has LP8 yet (unless they signed an NDA).
X -
Online Editor now ready to Online in FCP
I have a 90 min long form documentary that now needs onlining. My prior FCP projects were small, short videos with minimal online massaging needed. This time I have mixed formats, 4x3, 16x9, HiDef, Std Def, crappy archival footage, beautiful HD footage, graphics, etc. it all runs the gamut.
My eventual output will be DVD. I do have multi-layers in this project, with color effects, and effect transistions, as well as 8 to 12 tracks of audio. At 90 minutes it hasn't been any problem offlining on my MBP.
But now moving to online I assume that doing this on my laptop would be tough? The good thing is there is no pending deadline, which will help because many of the shots will take some time in COLOR.
To say this is a low budget project, would be a complement. It's more like no-budget. So I am trying to figure out what my options are to do this right. Slow, sluggish is OK for me, if it's CHEAP!
Someone suggested to hook up SATA drives with a card that I can put into the slot on MBP, which would speed up the playback. I do have a dual core MBP, so it is the best I can do on the processing end of things.
Should I convert all my HD files to ProRes for the online? I would hate to compress anything, so I am trying not to cut quality corners. Like I said it will be going to DVD, so I don't need a fancy HD card to output my project.
What are my options and what is the workflow on something like this? Is there any special software that helps the transition from offline to online. I assume that there will be a bit of a struggle relinking all of the different online files from their offline counterparts.
I do have natural breaks in the piece, and could break it up into sections to work on. This could help with memory, RAM issues.
If everyone leans toward a MacPro tower, can I get away with the minimal setup? Maybe a quad core with built in storage and a 24" monitor? Again my main objective is the best quality possible. If I can achieve the same quality on the MBP, with the only downside being time, I am OK with that.
Please let me know your thoughts. Any help would be appreciated.
PaulShane-
I have edited in Hollywood for the last 25 years, and have had to figure out all kinds of crazy systems and setups. I can understand your attitude. I wouldn't begin to try and tell you how to online on a Smoke(which I have been on for 14 years).
From a cost saving perspective, and the fact that this will not be broadcast(I think), I had hoped to patch my laptop into a HiDef TV with the monitor adapter and S-Video out, send the sequence to Color, run online drives thru Express34 slot, color correct from laptop using the HDTV(yes with S-Video composite in), and get everything as close as possible.
Then rent some time in a FCP online bay and bring my sequence in, to see how it looks on a broadcast monitor. Maybe by doing it this way I can save the Color time in the online bay. If everything is color corrected to my home HD monitor and is consistent, I could always tweek the final crunched down QT movie in Color again, when I am in the online bay.
I should have been more descriptive with what I wanted to do. I guess I just wanted confirmation from someone that all of the processing and rendering on MBP could be done. I didn't expect it to be easy.
I can't think of a cheaper way to do it. But unfortunately this project has cut many corners, just to end up where it is now.
Thanks,
Paul
Message was edited by: P Ware
Message was edited by: P Ware -
ISO BOOK "FCP for AVID editors (3rd ed)" by Diana Weynand!!! PLEASE HELP!!!
This book doesn't seem to exist within the whole expanse of the internet, even though I know it was printed and a number of people own it. I've tried 5 different websites and noone has a copy or lies that they do and then send me a refund a week later...crazy!
Does anyone out there actually own this book and is willing to sell it to me and ship it to me. I'm willing to pay top dollar for this to happen within the next day or so! Please help! If you have a printable ebook file that would be fine too!
I live in the Los Angeles area!http://www.amazon.co.uk/Apple-Pro-Training-Final-Editors/dp/0321515390/ref=sr12?ie=UTF8&s=books&qid=1263859461&sr=8-2
this one???
http://www.amazon.com/Apple-Pro-Training-Final-Editors/dp/0321515390
Message was edited by: Ian Hunter* -
Final Image Quality in Film, Avid vs. FCP
Hello all,
I'm heading up post-production and editorial for an independent feature film in pre-production. There are some potential producers that are interested in the film, but they're saying that (from their experience) the films they've cut on Avid have turned out to be visually superior than those cut on Final Cut Pro.
Now, I have no specifics as to the exact post-production workflow for either of the films, but I feel as though this statement is incorrect, as it is my assumption that give the same post-production workflows, the image quality would be the exact same.
I, for one (as the editor attached to the project), am for using a Final Cut Pro workflow, specifically because I already have a system set up:
Mac Pro 2.66 GHz Quad
5.0 GBs RAM
Final Cut Pro 5.1.4
Kona LHe
Cal Digit HD444 6 TB RAID
Toshiba 26" HD Client Monitor
1402 Mackie Mixer
DSR-1500 DVCAM Deck via SDI and 422 machine control
Personally, I have no issue with editing on either system, as I am well versed in both Avid and Final Cut Pro. However, this is an independent feature, and saving money is key. So why cut on Avid and have to rent a bay when we could cut on mine for free?
As far as finishing is concerned, we're planning on cutting back to the original negative (using Cinema Tools as our aide).
Can anyone give me a possible reason for why cutting a feature-length on film in Final Cut Pro would not look as good if it were cut on Avid, assuming the post workflow is the EXACT same?
Thanks!
Mac Pro Quad 2.66 GHz / 5.0 Gigs RAM / GeForce 7300 GT / 2.0 TBs internal SATA Mac OS X (10.4.9)Specifically, the producer in question noted that in
the past, when using FCP to cut a feature, they had
issues in the sound mix.
In my experience, I've never encountered a sound
mixer that's had a problem with an OMF export from a
FCP sequence when they create their ProTools
session.
Additionally, they pointed out that only Avid offline
projects would translate to a Da Vinci DI suite, and
FCP wouldn't work as well. Is there any truth to
this? I find this hard to believe...
It sounds as if your Producers don't truly understand the details of a post-production workflow for a professional film. They either only know the brands that they paid for, or they tried to unrealistically accomplish too much with too little resources and facilities on prior films, and hung their hats on the lesser of two evils. If the sound was edited, mixed, and somehow mastered on AVID or Final Cut only...without going into sound design/final mix/mastering in their respective stages and facilities...either one has an equal chance of sounding crappy...and that's a good chance. As long as the editor knows what he/she is doing and how to prepare their work for the next steps, a final mix/design can be just as good coming from a film edited on FCP as from AVID.
FCP offlines can translate just fine for AVID online/correction and what have you as long as this is planned for, researched, and understood from the outset. Basic things like knowing not to repeat frames if you're going back to film negative unless someone's willing to pay for the interpositives/dupes and such...apply if you're preparing for onlining. Same goes for sound and knowing that the final mix is where things will really take shape. the post supervisor needs to make sure that the editor and online/color correction facility (if different) are in perfect communication with eachother, and that the editor will know how to prepare and export their project to be compatable with the Davinci or whatever. The people who perform this work should generally be very open to your questions and attention, because it makes their job easier and more accurate when they're getting things well-prepared, rather than having to redo things that should be in place already. I've prepared simple EDL's which have worked fine for onlining and correction...but I made sure, step by step, that I was delivering what they needed, rather than just making it and shipping it out, and I was there with them for the whole process in case something was missing or confusing. Went without a hitch.
For sound design, I only do a basic edit during picture edit for sync work and music selection/editing/matching, or a rought mix that will approximate the final results, but I won't use that for the actual design except for perhaps a scratch reference. The rest...EFX, ambiences, foley, etc. is done in Pro Tools, and I can simply bring the project in to a mix house and open it on their system.
I guess you could hypothesize that there's a smaller, younger, and less-experienced pool of talent using primarily FCP than those using AVID, since AVID's been around longer and is still the "standard''. And a well-established, fully AVID-based in-the-can to on-the-screen facility will be more capable than a single FCP suite. But that's not FCP's fault. As long as we know the steps that have to be taken, FCP is fully capable of performing perfectly in its step on the ladder, and moving the project to the next.
So again, it seems like the producers are inaccurately attributing their disappointments to machines, instead of workflow and compatability that can and should be controlled by people who understand it. It's ususally the Post Supervisor's job to make sure of that. Of course, not every production will have the right budget for this, but the producers need to understand where the money for post goes and what things (along with the people, of course) need to be paid for in order to get the quality deserving of a professional feature film. That's the producer's job...at least one them. -
My company is planning on purchasing a new FCP 6 system in the next few weeks to replace our AVID Xpress pro suite. The editor that was here before me was backing up all of the MXF files that were originally shot on Panasonic P2 on to DVD-DL discs.
I have been reading all kinds of posts about problems importing MXF files to work with FCP. Has anyone come to a conclusion for a work around? All that I need to do is be able to import MXF files into a timeline. The previous editor did not copy anything from the P2 cards except for the Audio and Video files from the contents folder.
I will be getting FCP 6 when it is available and will be working on 5.0.4 or 5.1 until then.
Any help is greatly appreciated.Got P2 Log Pro. It didn't work so well with my FCP 5.0.4. Every file I tried to "recover" was corrupt by FCP and could not get it to import. P2 log saw my MXF files as white noise with audio.
Are you talking about P2 files from the cards? Or the entire backed up CONTENTS folder, or are you talking about the partial backup that was done here...VIDEO and AUDIO only? FCP doesn't corrupt MXF files, as it doesn't modify them at all, it copies them putting them inside a quicktime wrapper. The original files would be untouched. Something else is causing this...the drive they were backed up on, perhaps.
Do you think this would be improved with 5.1 or 6? Any other experience with Flip4Mac? Will that do what I need?
The import function in FCP was improved in 5.1. There were issues with stutteriness with clips imported under 5.0.4. And I have only used the P2 import function of FCP...never touched FLIP4MAC. I did test out HD LOG, but found that I liked the FCP importer better. That should be all you need.
And yes, this has been updated and improved in FCP 6...now it isn't only for P2, but called the FILE IMPORTER or something like that. It still might not work with the file structure you have. That is messed up...no excuse for sloppiness.
Shane
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