FCP and LiveType configuration question!

Hey there,
I created a little template in LiveType, however, when i export it - i cannot find a way to export it with a transparent background.
I know i COULD just place a background movie into Livetype and work from there, but my computer isn't fast enough.
Does anyone have any ideas about how to get a livetype file with a transparent background into FCP?
Thanks so much,

It seems the default in LT is to RENDER BACKGROUND.
I forget where this is... might be with the final render dialog box or it's in the preferences. My thought is it's with the first.
CaptM

Similar Messages

SAP-JEE, SAP_BUILDT, and SAP_JTECHS and Dev Configuration questions

Hi experts,
I am configuring NWDI for our environment and have a few questions that I'm trying to get my arms around.
I've read we need to check-in SAP-JEE, SAP_BUILDT, and SAP_JTECHS as required components, but I'm confused on the whole check-in vs. import thing.
I placed the 3 files in the correct OS directory and checked them in via the check-in tab on CMS.   Next, the files show up in the import queue for the DEV tab. My questions are what do I do next?
1. Do I import them into DEV? If so, what is this actually doing? Is it importing into the actual runtime system (i.e. DEV checkbox and parameters as defined in the landscape configurator for this track)? Or is just importing the file into the DEV buildspace of NWDI system?
2. Same question goes for the Consolidation tab.    Do I import them in here as well?
3. Do I need to import them into the QA and Prod systems too? Or do I remove them from the queue?
Development Configuration questions ***
4. When I download the development configuration, I can select DEV or CON workspace. What is the difference? Does DEV point to the sandbox (or central development) runtime system and CONS points to the configuration runtime system as defined in the landscape configurator? Or is this the DEV an CON workspace/buildspace of the NWDI sytem.
5. Does the selection here dictate the starting point for the development? What is an example scenarios when I would choose DEV vs. CON?
6. I have heard about the concept of a maintenance track and a development track. What is the difference and how do they differ from a setup perspective?   When would a Developer pick one over the over?
Thanks for any advice
-Dave

Hi David,
"Check-In" makes SCA known to CMS, "import" will import the content of the SCAs into CBS/DTR.
1. Yes. For these three SCAs specifically (they only contain buildarchives, no sources, no deployarchives) the build archives are imported into the dev buildspace on CBS. If the SCAs contain deployarchives and you have a runtime system configured for the dev system then those deployarchives should get deployed onto the runtime system.
2. Have you seen /people/marion.schlotte/blog/2006/03/30/best-practices-for-nwdi-track-design-for-ongoing-development ? Sooner or later you will want to.
3. Should be answered indirectly.
4. Dev/Cons correspond to the Dev/Consolidation system in CMS. For each developed SC you have 2 systems with 2 workspaces in DTR for each (inactive/active)
5. You should use dev. I would only use cons for corrections if they can't be done in dev and transported. Note that you will get conflicts in DTR if you do parallel changes in dev and cons.
6. See link in No.2 ?
Regards,
Marc

FCP and LiveType

I recently exported a FCP project to LiveType to add some animated titling. After it was done, nearly all subclips in FCP changed to OFFLINE status and are unusable. FCP is now even telling me that some of those subclips no longer exist. Could anyone tell me how I might be able to reverse this mess?

The more interesting question will be what caused it. There is no direct link between the results you are describing and the subclips going offline. However, subclipping is not very well understood. Subclips, unless deliberately made independent, are all subsets of a master clip. so if you somehow deleted the clip all those subs were pointing to, yes, they'd suddenly appear as offline. But that cannot be caused by using a clip for background in LT.
However, depending on how you returned to FCP, this statement discribes an incorrect workflow:
I recently exported a FCP project to LiveType to add some animated titling. < </div>
bogiesan

Flie error working between FCP and Livetype

I create my desired clip in Livetype and save project. I click and hold Livetype Icon in the Canvas window and press Command + Tab and toggle over to FCP 4. However, when I try to drop the Livetype Icon into my Browser I get Unknown File error and if I drop Icon onto FCP Timeline absolutely nothing happens.
Does anyone have any ideas on why this is happening???
Thanks.

Maybe they have fixed some of the problems, but this workflow was the root of a number of people loosing most of their project files. Somewhere along the line FCP would think everything was deleted or outdated render files and would delete the whole bunch. They were not in the trash... they were just GONE.
x
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Netmask and IPMP configuration question...

Hello all,
I have two questions.
Question 1.
I changed ip address on Solaris 10 server.
The ip address was 122.232.243.122 and netmask was 255.255.255.0.
the /etc/netmasks file was "122.232.243.122 255.255.255.0" and it worked fine.
Today. I got new ip address and netmask that is 122.232.233.122 and 255.255.255.240.
Now, what shoud I update in /etc/netmask file?
I updated it with "122.242.244.0 255.255.255.240" but it does not work.
Question 2.
IPMP needs 3 ip addresses (primary + secondary + virtual)
Usually, hostname links primary ip address.
For example
########## /etc/hosts ############
127.0.0.1 localhost
122.232.244.122 sis01 sis01. loghost
122.232.244.123 sis02
122.232.244.124 sys03
########## /etc/hostname.ce0 #######
sis01 group production netmask + broadcast + up
addif sis03 netmask + broadcast + deprecated -failover up
########## /etc/hostname.ce1 ########
sys02 netmask + broadcast + group production deprecated -failover standby up
In this case, hostname is sys01, primary ip is 122, secondary is 124, and virtual is 123.
But what I want to do is to make "hostname is sys01, primary ip is 123, secondary is 124, and virtual is 122".
Is it possible?

sun929 wrote:
I changed ip address on Solaris 10 server.
The ip address was 122.232.243.122 and netmask was 255.255.255.0.
the /etc/netmasks file was "122.232.243.122 255.255.255.0" and it worked fine.I would have expected
122.232.243.0 255.255.255.0
122.232.243.0 is the first address in the /24 that contains 122.232.243.122.
Today. I got new ip address and netmask that is 122.232.233.122 and 255.255.255.240.
Now, what shoud I update in /etc/netmask file?
I updated it with "122.242.244.0 255.255.255.240" but it does not work.122.232.233.122 is not in the /28 with 122.242.244.0. The first address that it's in would be 122.232.233.112. So:
122.232.233.112 255.255.255.240
Question 2.
IPMP needs 3 ip addresses (primary + secondary + virtual)
Usually, hostname links primary ip address.
For example
########## /etc/hosts ############
127.0.0.1 localhost
122.232.244.122 sis01 sis01. loghost
122.232.244.123 sis02
122.232.244.124 sys03
########## /etc/hostname.ce0 #######
sis01 group production netmask + broadcast + up
addif sis03 netmask + broadcast + deprecated -failover up
########## /etc/hostname.ce1 ########
sys02 netmask + broadcast + group production deprecated -failover standby up
In this case, hostname is sys01, primary ip is 122, secondary is 124, and virtual is 123.
But what I want to do is to make "hostname is sys01, primary ip is 123, secondary is 124, and virtual is 122".
Is it possible?I believe so. I think it was even recommended back when a bug caused the current method to have problems. I'm not sure if there are any problems with doing so.
Darren

FCP and Audio Filters Question.

Hello,
I'm editing this project for a client. I did not shoot it. However, one of the cameras was plugged into the sound board for audio, and the cameraman checked the camera levels and his were fine before shooting. The sound guy didn't check his levels and one of the voices is peaking quite a bit.
I have very little knowledge in audio production/editing. I'm running FCP 5 -- is there any advice anyone could give me within the audio editors of FCP? I also have Soundtrack, but have no experience with it.
I messed with the three-band EQ and took out some low frequencies but received minimal results.
Thanks so much, advice on these forums is always appreciated.
-Matthew
P.S. Can anyone also recommend a free (or relatively inexpensive) program that can create .FLV files from FCP or Quicktime?

Digital audio, once over driven, is a loss. There is no graceful degradation as in analog audio.
Pop over to the soundtrack pro forum, perhaps one of the experienced folks there can offer some help.
FLV 9 files can be generated from Quicktime Pro as H.264 then simply changing the suffix.
x

Adding a RAID card to help speed up export (and other drive question) in Premiere Pro CC

First of all, I have read Tweakers Page exporting section because that is where my primary concern is. First my questions, then background and my current and proposed configurations:
Question 1: Will adding a hardware RAID controller, such as an LSI MegaRAID remove enough burden from the CPU managing parity on my software RAID 5 that the CPU will jump for joy and export faster?
Question 2: If true to above, then compare thoughts on adding more smaller SSDs for either a one volume RAID 0 or smaller two volume RAID 0 to complement existing HDD RAID 5. That is, I'm thinking of buying four Samsung 850 Pro 128 GB SSDs to put in a four disk volume to handle everything (media/projects, media cache, previews, exports), or split it up into two volumes of two disks each and split the duties, or keep the four disk volume idea and put the previews & exports on my HDD RAID 5 array.
The 850's are rated at SEQ read/write: 550/470 MB/s thus I could get around 2000/1500 MB/s read write in a four disk RAID 0 or 1/2 that if I split into two volumes to minimize volumes from reading/writing at the same time, if that really matters with these SSDs?
The Tweaker's page made a few comments. One is splitting duties among different disks, rather than a large efficient RAID may actually slow things down. Since the SSDs are much faster than a single HDD, I'm thinking that is no longer accurate, thus I'm leaning toward the Four disk configuration putting OS & Programs on C drive, Media & Projects on D (HDD RAID 5), Pagefile & Media Cache on SSD (2-disk RAID 0) and Previews &Exports on 2nd SSD RAID 0 (or combine the two RAID 0's and their duties).
Just trying to get a perspective here, since I haven't purchased anything yet. Any experience/stories, I would appreciate.
My current drive configuration:
My D drive is software RAID 5 consisting of four 1 TB Western Digital RE4 (RED) 7200 RPM HDDs with a CrystalDiskMark SEQ Read/Write of 339/252 MB/s.
The C drive is SSD 500 GB (Samsung 840 (not Pro) and does 531/330 MB/s. My OS, Program Files and Page File are on C, and data/media files/project, etc all are on the RAID drive.
Problem:
Current setup allows for smooth editing, only the exporting seems slow, often taking between two and two and a half times the video length to export. Thus a 10 minute video takes 20-30 minutes to export. 15 minute video can take 30-40 minutes to export. The first 10% of the two-pass export takes under a minute (seems fast), but it gets slower where the final 10 or 20% can hang for many minutes like my system is running out of steam. So where is the waste?
I have enabled hardware acceleration (did the GPU hack since my GPU isn't listed) and it may spike at 25% usage a few times and eat up 600 MB of VRAM (I have 2 GB of VRAM), otherwise it is idle the whole export. The CPU may spike at 50% but it doesn't seem overly busy either.
Our timeline is simple with two video streams and two audio streams (a little music and mostly voice) with simple transitions (jump cuts or cross dissolves). We sometimes fast color correct, so that might use the GPU? Also, since we film in 1080 60P and export 1080 29.97 frames/sec, I think that is scaling and uses the GPU. I know without the GPU, it does take a lot longer. I have ruled out buying a faster GPU since it doesn't appear to be breaking a sweat. I just need to know if my system is bottlenecked at the hard drive level because I'm using software RAID and my disks are slow and will hardware RAID significantly reduce the CPU load so it can export faster.
Our files are not huge in nature. Most our clips are several MBs each. Total project files are between 5 GBs and 10 GBs for each video with Windows Media File export being 500 MB to 1.2 GB on average. We shoot using Panasonic camcorders so the original files are AVCHD, I believe (.MTS files?).
Considerations:
1. I'm thinking of buying (and future proofing) an LSI Logic MegaRAID 9361-8i that is 12Gb/s SAS and SATA (because some current SSDs can exceed the 6Gb/s standard).
2. I'm not replacing my current RAID 5 HDDs because not in my budget to upgrade to 6 or more large SSDs. These drives are more important to me for temporary storage because I remove the files once backed up. I don't mind a few inexpensive smaller SSDs if they can make a significant difference for editing and exporting.
I can only guess my HDD RAID is slow but the CPU is burdened with parity. I would imagine running RAID 10 would not help much.
My setup:
my setup:
CPU - i7-3930K CPU @4.5 GHz
RAM - G.SKILL Ripjaws Z Series 32GB (4 x 8GB) DDR3 2133 @2000
Motherboard - ASUS P9X79 WS LGA 2011
GPU - Gigabyte GeForce GTX 660 OC 2GB (performed the compatibility list hack to enable hardware acceleration).
C drive - 500 GB Samsung 840 SSD (Windows 7 Pro 64 bit and programs).
D drive - four 1 TB WD RE4 Enterprise HDDs 7200 RPMs in software RAID 5
Case - Cooler Master HAF X
CPU Fan - Cooler Master Hyper 212 EVO with 120 mm fan
Power Supply - Corsair Pro Series AX 850 Watt 80 Plus Gold
Optical Drive - Pioneer BDR - 208DBK
thanks in advance,
Eric

........software RAID 5 off the motherboard ??????......NOT a good idea, from what I have read here on this forum from experts like Harm Millard and others. They have mentioned a LARGE overhead on the CPU doing this....causing sub-par performance. RAID 0 off the motherboard will NOT do this, however.....RAID 0 would provide optimum speed, but, with the risk of total data loss if ANY drive fails. You may wish to reconfigure your RAID to be RAID 0...BUT...you would need to DILIGENTLY back up its entire volume onto perhaps a quality 4TB drive very frequently.
A lot depends on the nature of your current and FUTURE codecs you plan to edit. You may not want to sink a lot of money into an older setup that may have trouble with more demanding future codecs. For now, in the 1080p realm, your rig should be OK....the read/write performance on your CURRENT RAID 5 setup is not great, and a definite drag on the performance. The rest of your components appear to be fine.....the Samsung SSD, though not ideal, is OK.....it's write speed is WAY lower than the Pro model,but, the drive is used mainly for reading operations. Since you have Windows 7 Pro, and NOT Windows 8.......you CAN put the entire windows page file onto the RAID 0 you might create.....this will take that frequent read/write load OFF the SSD. Read the "tweakers Page" to see how to best TUNE your machine. To use your current setup most efficiently, without investing much money, you would :a. create the RAID 0 off the motherboard, ( putting all media and project files on it ) b. install a quality 7200rpm 4TB HDD to serve as a BACKUP of the RAID array. Then, install a Crucial M550 256GB or larger SSD, ( close in performance to Samsung 850 Pro...much cheaper), to put all previews, cache , and media cache files on....AND to use as " global performance cache" for After Effects...if you use that program. Exporting can be done to ANOTHER Crucial M550 for best speed...or, just to the either the FIRST Crucial or, the 4TB drive. Your current GPU will accelerate exports on any video containing scaling and any GPU accelerated effects. Your CPU is STILL important in SERVING the data to and from the GPU AND for decoding and encoding non-GPU handled video....your high CPU clock speed helps performance there ! You may want to check out possibly overclocking your video card, using MSI Afterburner.or, similar free program. Increasing the "memory clock speed" can RAISE performance and cut export times on GPU effects loaded timelines,or, scaling operations. On my laptop, I export 25% faster doing this. With my NEW i7 4700 HQ laptop, I export in the range of your CURRENT machine....about 2 to 3 times the length of the original video. PROPERLY SET UP...your desktop machine should BLOW THIS AWAY !!
Visit the PPBM7 website and test your current setup to possibly identify current bottlenecks,or, performance issues. THEN, RE-TEST it again, after making improvements to your machine to see how it does. Be aware that new codecs are coming (H.265 and HEVC,etc.) which may demand more computer horsepower to edit, as they are even MORE compressed and engineered for "streaming" high quality at a lower bandwidth on the internet. The new Haswell E...with its quad-channel memory, 8 core option, large number of PCI gen. 3 lanes, goes farther in being prepared for 4K and more. Testing by Eric Bowen has shown the newer PPro versions provide MUCH better processing of 4K than older versions.

Configuration Question on local-scheme and high-units

I run my Tangosol cluster with 12 nodes on 3 machines(each machine with 4 cache server nodes). I have 2 important configuration questions. Appreciate if you can answer them ASAP.
- My requirement is that I need only 10000 objects to be in cluster so that the resources can be freed upon when other caches are loaded. I configured the <high-units> to be 10000 but I am not sure if this is per node or for the whole cluster. I see that the total number of objects in the cluster goes till 15800 objects even when I configured for the 10K as high-units (there is some free memory on servers in this case). Can you please explain this?
- Is there an easy way to know the memory stats of the cluster? The memory command on the cluster doesn't seem to be giving me the correct stats. Is there any other utility that I can use?
I started all the nodes with the same configuration as below. Can you please answer the above questions ASAP?
<distributed-scheme>
<scheme-name>TestScheme</scheme-name>
<service-name>DistributedCache</service-name>
<backing-map-scheme>
<local-scheme>
<high-units>10000</high-units>
<eviction-policy>LRU</eviction-policy>
<expiry-delay>1d</expiry-delay>
<flush-delay>1h</flush-delay>
</local-scheme>
</backing-map-scheme>
</distributed-scheme>
Thanks
Ravi

I run my Tangosol cluster with 12 nodes on 3
machines(each machine with 4 cache server nodes). I
have 2 important configuration questions. Appreciate
if you can answer them ASAP.
- My requirement is that I need only 10000 objects to
be in cluster so that the resources can be freed upon
when other caches are loaded. I configured the
<high-units> to be 10000 but I am not sure if this is
per node or for the whole cluster. I see that the
total number of objects in the cluster goes till
15800 objects even when I configured for the 10K as
high-units (there is some free memory on servers in
this case). Can you please explain this?
It is per backing map, which is practically per node in case of distributed caches.
- Is there an easy way to know the memory stats of
the cluster? The memory command on the cluster
doesn't seem to be giving me the correct stats. Is
there any other utility that I can use?
Yes, you can get this and quite a number of other information via JMX. Please check this wiki page for more information.
I started all the nodes with the same configuration
as below. Can you please answer the above questions
ASAP?
<distributed-scheme>
<scheme-name>TestScheme</scheme-name>
<service-name>DistributedCache</service-name>
<backing-map-scheme>
<local-scheme>
<high-units>10000</high-units>
<eviction-policy>LRU</eviction-policy>
<expiry-delay>1d</expiry-delay>
<flush-delay>1h</flush-delay>
</local-scheme>
</backing-map-scheme>
</distributed-scheme>
Thanks
RaviBest regards,
Robert

Workflow question - need to do quick speed adjustments in fcp and maintain

Tried the documentation first...
I have a project where I will be adjusting the timing (speed) of most of the clips. Once I have the video and audio locked i will undue speed changes in fcp and use motion to get the most precise results / renders. Check me if I have this part wrong.
to facilitate editing i would like to do the speed changes for a clip in fcp and keep it's associated dialogue track in sync. ultimetly this will be a silent film so the dialogue will fall away. is there any way that speed changes applied to a linked video and audio clip can be made in fcp while preserving pitch? otherwise higly annoying to edit.
if not and i have to go to sound track pro to maintain pitch what does the workflow look like to make speed changes and keep audio at the same pitch.
thanks in advance,
wayne - portland oregon

Michael,
That's what I am doing with Batch Export now. I just wish that I didn't have to create a new destination folder for each bin. This is an insurance documentation project. W/o going into too much detail, I have 3100 clips from 54 different buildings, 395 different units in those buildings and the clips for each unit in their own bin. I need to keep that structure intact as I export.
I'm guessing that using Batch Export is the only way to go with out an upgrade to go straight to compressor from the Browser.
K

Updating Final Cut Studio 2.01 and workflow between FCP and AE

Hi. I am currently working in FCE 3.5 and am considering purchasing Final Cut Studio 2.01 (new and sealed) as opposed to the latest version since I am running a PowerPC G5. Am I assured of being able to download all the updates for Final Cut Pro 6 and exactly which version would be the latest and final one? Was there ever an FCP v6.5? I do mainly animation/motion graphics and work in After Effects (along w/ Flash, Carrara, Photoshop, Illustrator, etc.). I understand that the workflow between FCP (as opposed to FCE) and AE is greatly enhanced. Can someone give me an idea of what advantages this new workflow will offer in terms of what I'll be able to accomplish that I can't do now w/ FCE? Also, any other comments on how FCP (as compared to FCE) will benefit me as an animator will be greatly appreciated. Lastly, am I correct in assuming that I will be able to open my FCE 3.5 project files in FCP 6 but not visa versa? Thanks. Jack.

Thanks for the replies everyone. I see that I will need some 3rd-party support in order to realize the benefit of a Final Cut Pro/After Effects workflow. Have another question. What are the kinds of filters that you can keyframe in FCP but not in FCE? And are there many filters in FCP that are not included w/ FCE? As I deal mainly w/ animation as opposed to footage of live video I am trying to justify the investment in Final Cut Studio 2 in terms of it being a benefit to me as an animator. I currently use FCE 3.5 (which includes versions of SoundTrack and LiveType) and After Effects CS3 plus other graphics programs. I would love to be able to work within DVD Studio Pro as iDVD is so limiting as an authoring program but am not sure how much I will benefit from switching from FCE to FCP. This is what I am trying to nail down.

FCP and ProTools

Dear All,
I have just done a project by using FCP and STP. To be honest, the roundtripping of FCP and STP is just too good to be true. When you work on the same computer, it works ok, except sometimes messing up the wave graphic. However, when we move to project to another computer, which is very common for any kind of collaboration, the files just have difficult time to reconnect and/or reconform. That's the first point.
The other point is that: In most of the sound mix stuido, they use ProTools. For our low budget films, we likely do the pre-mix and effects by ourselves and take all the tracks to well-facilitated stuido for final mixing or just a listening session. In this case, isn't it easier and nicer if we are also using ProTools for our pre-mix?
Then the questions are:
1./ I wonder if FCP and ProTools have something similar to roundtripping function between FCP and STP. I know FCP and ProTools are actually from two rivial companies, and I just wonder if there is some not-too-difficult workarounds to reconform the files, or any third parties software for reconforming. For our productions, changing things during pre-mix is quite often, so reconforming is actually important to us.
2./ As we mainly just use ProTools for simple editing, effects and mostly mixing, what kind of ProTools package will be suitable to us? Actually, what we need the ProTools to hook up is just a pair of Adam AX monitors, so we don't need too much I/O. Also, we already have an AJA KONA to connect the monitors. I wonder if we can just buy the software itself.
Thanks in advance.

When you say ProTools outputting individual aiff, is it a mix down file?
Yes. I have certain audio configurations that we need to output for the networks. Ch1 & 2 are a stereo mix, then CH3&4 might be Mix minus Music, then Ch5 Mono Dialog, Ch6 Mono Prod Audio. Ch7&8 SFX....9 and 10 Stereo music.
So the mixer mixes down what we need for the various tracks.
Also, as I change my film, is there any way to update the found files in ProTools?
Don't change your cut. You should not be sending the audio to the mix if you aren't done cutting. You wait until you have picture lock, then send the audio. If there is a change, then you re-export the OMF, they reconform, and send new tracks. HOW does the audio guy conform? Got me...I just know that they can.
Shane

Closed loop configuration question

I have a motor(with encoder feedback) attached to a linear actuator(with end limit switches).
The motor has a commercially bought servo drive for control.
The servo drive will accept either a step/direction (2 seperate TTL
digital pulse train inputs) or an analog -10 to 10vdc input for
control.
The purpose is to drive a linear actuator(continiously in and out) in
closed loop operation utilizing a ( (SV) Setpoint variable)value from a
file converted to a frequency to compare with an actual ( (PV) Position
variable) measured frequency.
I have created and experimented with individual vi's allows analog
control and digital pulse train control (thankfully with the help of
examples).
Before I pose my question, I would like to make the following
observations: It is my understanding that Closed loop control
means that I dont need to know an exact position at which to drive, but
constant comparision of PV and SV through PID applictation.
Without getting into any proprietery information I can say that the
constant positioning of the linear actuator will produce a latency of 2
to 3 seconds based on the time the actuator moves to a new position and
when the PV will change. While experimenting with the analog
input, i noticed imediate response to motor velocity, but after the
motor is stopped, position is not held in place. However, while
experimenting with the Digital pulse train input, I noticed that the
servo drive can only accept one command at one time; if, halfway
through a move, position error produces a response to move the linear
actuator in the opposite or different direction, the origional move
must finish first.
Can anyone recommend the proper configuration for the closed loop control i have described?
If I can make the system work with the servo drive/motor I plan to use
the simple (pci 6014) daq card with the Analog out, or utilize the
digital out.
If I cant get this to work, we do have a pxi with 7344 motion card(I
would like to exhaust all efforts to use the PCI 6014 card).
Depending on where I go from here, I planned to use the PID vi's for the loop control.
Thanks,
Wayne Hilburn

Thanks for the reply
Jochen. I realize there is a built-in latency with windows but I
think the I/O control would be ok. A change in actuator position
will not result in an immediate change in process variable; Is
there a way to measure the latency or is it calculated? A
satisfactory reaction time could be from 1 to 1.5 sec.
Use of the PCI-6014 is to supply the control output to the servo
drive/amp, and not to drive the motor itself. As stated earlier,
while using the 6014 board, I have the choice of digital or analog
output.
Currently I am at a point where I must choose which configuration,
analog control or digital control(in the form of digital pulse train),
(i am inserting from first message)
While experimenting with the analog
input, i noticed imediate response to motor velocity, but after the
motor is stopped, position is not held in place. However, while
experimenting with the Digital pulse train input, I noticed that the
servo drive can only accept one command at one time; if, halfway
through a move, position error produces a response to move the linear
actuator in the opposite or different direction, the origional move
must finish first. .
I dont claim to understand all the limitations with the
specific boards, however, i am using an approach that is showing me the
characteristics(a couple are listed in the above paragraph) of
the hardware and software configurations.
So I am really back to my origional question; Which configuration
would be better for closed loop control, analog or digital pulse train?
Thanks,
Wayne Hilburn

Fcp and motion 3 with Yosemite

I Recently upgraded the operating system of my 2009 Mac Pro to Yosemite and consequently FCP and motion 3 no longer work. Can I do a clean install of Mavericks on a spare hard drive, install FCP and motion 3 on it and not have any conflicts with the other hard drives?

HHi Nick, thanks for the response. My question however was : can I have one hard drive operating Yosemite and another operating Mavericks with FCP and motion 3 without conflict in the same computer? Any ideas?

Variable Substitution and Dynamic Configuration

Hi All,
In Variable Substitution , the name that should be given the the receiver payload should be part of the Source Payload unlike the Dynamic Configuration wherein the file name can be generated dynamically during mapping.
I have the following questions
1.Dont we need to write the UDF for the Variable substitution?
2.Cant we do the Dynamic configuration without writing UDF?If so then how?
3.In Dynamic Configuration the file name is generated dynamically.But where does the file name come from if it is not the part of the source payload?
Thanks in advance

Hi Shwetha,
1.Dont we need to write the UDF for the Variable substitution?
No. Here we are accessing the contents of the payload to the target. So no UDF required.
2.Cant we do the Dynamic configuration without writing UDF?If so then how?
Yes and No.
Because we can set only few Dynamic configuration values without UDF.
If both source and target are File, then check ASMA on both sender and receiver. Then u can get the source directory name and source file name for target also without any UDF.Also some other parameters.
3.In Dynamic Configuration the file name is generated dynamically.But where does the file name come from if it is not the part of the source payload?
The file name comes along with the source in the payload as a attribute in header. U can view this in SXMB_MONI, and Dynamic Configuration.
In Dynamic Configuration the file name is generated dynamically.
No the file name is taken as it is from the source, if u want to change dynamically that u have to do in a UDF.
I hope this will clear all doubts,
If nt pl post
Babu

Help with FCP and long project editing - Thanks!

I have posted several questions in this discussion group and in the iMovie group to no avail. I get a lot of answers, but not from anyone who has actually done any of the editing I am seeking. So if anyone has actually done the editing I am describing below -- I appreciate your help. Yes, I have searched the archives -- but again, I see a lot of confusing feedback. I have been working on this for three days now and it's driving me crazy! I have discovered that iMoive is $#@% -- and does not work with a long project, (40 minutes) so I am thinking about switching to FCP-HD. Thanks.
Here goes:
1: I need to transfer original master footage, 1080i HDV from a Sony HDR-FX1 to an editing program, edit the tapes (over 5 hours total) into a 50 minute "program". I then need to "share" or export the footage back to a new tape, using the Sony HDR-FX1 as the receiving camera. Simple enough.
2: I need to make sure the outgoing footage is of equal quality as the original footage taken from the camera. I am guessing here, that the footage can be edited in FCP-5 as "native" -- then transferred back to the Sony?
3: I am assuming that the native footage is just that -- and will not require the long process of converting to another format, e.g., ASI that takes hours to
render. (as in iMovie).
4: I am assuming I can edit and view HDV as native footage in FCP in real time, like iMovie, via firewire from the camera?
I really appreciate any assistance.
Chance

Welcome to the family, you'll be joining us soon.
The FCP product page says: > It features powerful new multicamera editing, native HDV support, ... edit everything from DV and SD to DVCPRO HD and fully uncompressed 10-bit high-definition video. Or work with new formats like native HDV (long-GOP MPEG2) and 50Mbps IMX... HD editing requires a 1GHz or faster PowerPC G4 or G5 and 1GB of RAM (2GB recommended).<
You seem to have the hardware including the Flux-o-pator, but, really, you want to talk to an Apple reseller who handles FCP and understands HDV via Sony. I don't like the way you're using "I am assuming..." You can't assume anything. Give them a chance to sell you FCP or Studio and go demo your camera on their system. You will have concrete evidence of the minimum machine specs and how well you can get your files in and out of the application.
Call you local Mac user group and try to locate other FCP users.
Try also the creativecow.net forums for Sony HD products.
Google your camera model for support groups.
bogiesan

FCP and LiveType configuration question!

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