FCP and Rosetta questions.....

I should start off by saying that these are geared for the new macs with the intel chips.
I have been reading up on Rosetta and it seems like the programs that were made for the PowerPC chip will use Rosetta to translate and programs that will be made under the Universal Application moniker will also use Rosetta to translate.
My question is were does this leave FCP? It's going to be one of those "Universal Application" in a few weeks, but it's still gonna need Rosetta to run, which I think might make FCP very unstable. Does Apple have plans to make an Intel-native version of FCP? How will this switch to intel chips affect Final Cut in the future? Does anyone have any info on this? Thanks
iBook G4 14" Mac OS X (10.3.9)

There's also this:
http://www.apple.com/rosetta/
The Universal truth<
Pro applications from Apple — including Final Cut Pro, Motion, Soundtrack Pro, DVD Studio Pro, Aperture, Logic Pro, Logic Express, Shake and Final Cut Express — are not supported by Rosetta. Apple Applications</div>
If you already own Final Cut Studio 1.0, Aperture, or Logic Pro 7.1, these applications are not supported to run on Intel-based Macs with Rosetta, but a Universal version will be available for $49. Logic Express will be $29.<
If you want to run your pro apps on the new machines, you will be buying (that's right BUYING) new software. There's a great bruhaha over on the Aperture forum about the language in the license agreement, written by Apple, that seems to make this charge for a new version of existing software a blatant violation of the terms of Apple's side of the license. but it doesn't take much to get those Aperture knuckleheads really excited.
bogiesan

Similar Messages

Newbie FCP HDV monitoring and RAID questions

Hello forum gods.
First off, I must confess - I am a defector seeking assylum in the the Mac camp. I am a born-and-bred Windows person, and a longtime Avid editor who just made the jump and purchased the Mac-Pro with all the bells and whistles, and FCP Studio. I did this to accompany my JVC ProHD cam and deck.
I have no idea what I am going to do with the time I used to spend scanning for viruses and trojans. I am thinking I may write a novel, or build a house by hand - but that is another topic.
Now that the confession is out of the way - we can move on to the actual questions.
<big breath>
Ok - so I have this new fancy shiny computer, deck, camera, and monitors - one of which is the Sony 23" that is comparable to the Apple 23. I do not have a Kona or Blackmagic card because I was told that I did not need one right away - though I do plan on getting one later. For monitoring, I was going to use the firewire in/out of the JVC deck and convert the signal via the component outs to another HD monitor. This would bring the total monitors on the system to 3 - a 19" for the edit screen, the 23" for the video playback in FCP and the braodacast HD for monitoring the final signal.
Is this workable?
Now for the second question - storage and RAID.
Most of my footage will be either SD or HDV. Eventually I'll be going to XDCam, but that's a bit down the road. I have the internal 250 gigger that came in the Mac, and I purchased additional 500gb SATA II drives that I was going to use to set up a RAID. Should I do this internal or external? Will it work? What else do I need? What is the meaning of life?
Thanks for your replies. My credit card is anxiously awaiting your suggestions
G5 Quad Mac OS X (10.4.8)
G5 Quad Mac OS X (10.4.8)

Some question back atcha:
1) When you say you'll be working in SD, what do you
mean? Typically, SD refers to uncompressed 601, 720 X
486. Or are you referring to DV NTSC?
DV NTSC and/or the myriad formats that the JVC100 can do.
2) Your Profile says you have a Quad G5, but your
post says it's a MacPro. Which is it?
Sorry - Consider that my first public gaffe in the new Mac world. I bought the Mac Pro. Time to change my profile. I bought it last week - it isn't even here yet. Supposed to be delivered today...
3) Are you wanting to see your HDV sequence on a
external video monitor while you're editing? If so,
you'll need the Kona card (or the Blackmagic card,
but I don't do BMD, only Aja, so I don't know about
the Blackmagic offerings.)
I've read about the Cinema Preview function and although I know that this isn't the best idea for monitoring, wouldn't it work? On the JVC deck, it has the firewire output/input and component outs (among others) so in E-to-E mode, couldn't the deck act as my converter for monitoring on the broadcast monitor? If not - I have a line on a Kona-2 with the BOB for about $1400. Deal or no deal?
Now as for your RAID question, you can do either
internal or external. Just don't include the drive
that contains your system folder in the RAID.
I was planning on using the 250 for all my system files and the 2-500 giggers as my edit drives. Sound good?
EDIT: As for the meaning of life, go ask your father.
Gaah... He handed me "The Hitchiker's Guide to the Galaxy" and told me to get to reading....
Thanks for the help. Lord knows I need it.

Perturbing FCP 7 Log and Capture Question

I tried to digitize some HDV footage this afternoon, in theway I’ve always done it, but now suddenly it doesn’t work. Details to follow, but first my rig:
Mac Pro (Nehalem 2009) running Snow Leopard 10.6.8, NOFIREWIRE 400 PORTS
Final Cut Studio 2 with FCP 7
Sony Z1U HDV/SD videocamera connecting to Mac Pro via i.linkcable (aka firewire); I am using this to ingest because I can’t afford a deckat the moment. I know about thewear on the heads, etc., etc.
OWC Mercury Elite-Al Pro external media drive connected tocomputer via eSATA.
Here’s the scenario (keeping in mind that I’ve done thiscountless times in the past with no problems):
I connect the Z1U to the OWC drive with a 4-pin to 6-pinstandard FW 400 cable. I do thisbecause the Mac Pro does not have any FW 400 inputs but the OWC drivedoes. So I am in effect“daisy-chaining” and perhaps this is the problem.
I turn on the camera.
I start up FCP. It tells me: “Unable tolocate the following external devices: HDV (1440 x 1080) 60i.” After hitting “check again” a fewtimes, I hit “continue.”
I load my new project, into which I want to bring all thiswonderful HDV footage of my friends’ wedding. And, as I have done so many times, I hit command-8 to bringup the log and capture window.
To my horror, it says, “Unable to initialize capturedevice. Device is not connected orthe capture preset is not setup [sic] correctly.” Etc., etc.
I have read many posts here and elsewhere on similarproblems, so let me say what I have done:
I check Easy Setup: It says HDV – 1080i60, which is what it should say.
My Audio/Video Settings are:
Sequence Preset: HDV 1080i60
Capture Preset: HDV
Device Control Preset: Sony HDV Firewire
Video Playback: None
Audio Playback: Default
So now I go to my camera. It is set to output HDV. Component says 1080i/480i. i.LINK Convert is off. Down Convert says Squeeze, but I assume that’s meaningless since thei.LINK Convert is set to off. A/V>DV Out is set to off.
None of this makes a lick of difference, as far as I cantell.
I shut off the camera and disconnect the cable, thenreconnect the cable and turn it back on. No help.
I trash my FCP preferences, start FCP again, redo myprefs. Nothing.
I hit the reset button on the Z1U. Nada.
I do all this and then reboot the computer. Bupkis.
The footage was definitely shot in HDV. I can play it fine on the camerascreen.
I check the cable, which is brand new; it is firmly in placeon both ends.
Okay, so now I turned off the camera, quit FCP, ejected theOWC drive and turned it off. Iunplugged the eSATA cable. I wentand got my MacBook Pro and connected it to the OWC drive with a FW 800 cable. The camera was still connected to theOWC media drive via the i.LINK cable. I turned on the drive; I turned on the MacBook Pro; I turned on theZ1U. I started up FCP, and here’swhat happened:
It worked perfectly. No problem recognizing the camera, noproblem controlling it from the L&C window.
You might say that this solves my problem. But I prefer to edit on my desktopcomputer, and I am irritated that I can’t figure out what’s wrong. My suspicions are that it must havesomething to do with the cabling. FCP is working just fine with the Z1U routed through my media drive, theOWC. The only differences are thatmy drive is not connected to the computer via eSATA but FW 800. I see no differences in the settings.
Any insights?
Thanks,
Giraut

From what you say, I would suggest that the OWC enclosure does not utilize/energize the firewire interface when it is using the eSata.
This is just a guess.
Connect the Drive/Camera to your desktop via the FW800 cable: Mac Pro > FW800 Cable > OWC enclosure >FW 6Pin to 4 Pin Cable > HDV Camera. The speed difference between eSata and FW should be minimal as in each case you are limited by the FW400 connection at the camera.
MtD

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

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?

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

Snow leopard and rosetta

I have a couple of questions about snow leopard and rosetta.
1. Quicken uses PowerPC code. Will Rosetta install automagically when I start Quicken or do I need to install Rosetta as part of the install.
2. Assuming a Quicken update in the not too distant future, and assuming that other Rosetta apps are banished from my computer, is there a way to de-install Rosetta code when it is no longer needed?
Thanks

sdevan,
First, I'm not sure why you are that concerned over Rosetta, other than the fact that universal binary apps will always run at least somewhat better than the PPC equivalents. There are still many PPC machines in the install base, so PPC code (and thus Rosetta) will not be going away any time soon. But, your questions...
1) Obviously, Rosetta must be present within OS X in order for you to run PPC applications. No one knows yet whether or not Rosetta will be installed by default. I very strongly recommend that you carefully review the options within the Snow Leopard installer when you run it.
2) Again, we don't know. I would think it would be rather difficult to get rid of everything associated with Rosetta, if it exists as part of OS X. I wouldn't recommend trying, and in truth, I see no reason why one would want to do so. There would be no benefit.
Scott

Mac Pro - Oct Core? and other questions......

Hi all, Im new to these forums - I am one half of a UK production duo named big mister music.
We are about to bite the bullet and make a new mac pro purchase and at the same time go for an apogee ensemble. My question is two fold really, is the oct core worth paying extra for? In real world terms.... and the ensemble? Anyone used one? Worth the cash?
Brilliant! thanks for your replies in advance and I hope to make a positive impact on these boards in the future!
Ian

Now after going to the leading Mastering house in the U.K.
they Master all the Big Names, i don't even want to say,
however here goes,
they gave me two of the Main dealers in the U.K. that supply not most but All the store's in the U.K. with Apogee and the other Apogee & RME.
So after calling Apogee in the U.K. main supplier before on price's of Ensemble and Rosetta 800, without a doubt 800 came out on top,
Ensemble not even close in their line of Converters,
I try to ask for Discount has a Student, as i though it was a Apple Product,
they weren't having it,
has it was said its not a Apple product, but made for Apple Logic,
and integrate well with Logic,
therefore their goes my discount out the window!
Now after i got the numbers for the main dealers, before i ask for discount
they gave me Discount when they say who gave the number,
meaning its not who you know but who knows you.
Ensemble was a few £ short of 1400.00 new price £1050.00
Rosetta price drop by about £200 though.
Then again there was a Blind test of Apogee Rosetta 800 v RME Fireface800,
with Apogee customers, and guess what?
About 90% of them pick RME 800,
do a google search and you'll find it,
In saying this Fireface 800 and Top-line Apogee products is Marginally different,
So it all boils down to the type of sound you want,
One ads Color, while the other is transparent,
Apogee Ads RME Transparent
Fr.BlayZay.

Help! Audio for 16mm project, material to FCP and back again to 16mm

I am getting ready to send an AIFF file of the audio I created on FCP, working with video that was created from a 16mm to video transfer at my lab. They tell me the transfer was a non-drop frame transfer. The lab made a digital file from the transfer, which I imported into a FCP project with 23.98 sequence settings.
I want to compare the frame length of my WP to that of my video file so that I can determine how the audio house who will be transferring the AIFF to mag needs to compensate, and I am confused about how to measure the video file's frame length. If the sequence settings are at 23.98 fps, and the project runs from 1:00:05;12 to 1:11:49;08, to determine the frame length should I be assuming there are 24 frames per second or 30?
I don't have access anymore to the FCP so I can't check but a basic question is: if the sequence setting are set to 23.98fps, does that mean the timeline only has 24fps? When I convert at 30fps, my video file is 22 frames longer than my WP...
Thanks for any advice and questions--that all may be explained poorly...

When your project and sequence settings are at 23.98, it is for two main reasons. 1. ou are working with video footage shot at 23.98 and 2. you are working with film (24 fps), which was ultimately telecined to video which runs at 23.98. This is mainly implimented because you plan on either going back to a higher resolution "online" which you will be synching up the timecode with a better quality copy of the tape at a coloring house, or you will be using the edl from the 23.98 sequence to give to a negative cutter, so they can cut the negative correctly according to the timecode and how it links with the keycode.
I assume you are making a final product that will be on celuloid- an actual film print, not a video copy. is this correct?
Please clarify the following: did you shoot on film, get a telecine to a beta or dvcam, do you have a timecode burn-in on the tape and when you captured the clips into final cut, did you utilize Cinema Tools?
If you did run your clips through cinema tools, did you do it correctly (starting the process on the "aa" frame).
Is your project set to 23.98 or just your sequence? when you place captured clips onto the timeline do they have to be rendered? Is this a sync project or was it shot MOS?
And lastly, as I previously asked, are you sending all of your negative, the edl from FCP and the aiff to a negative cutter?

FCP and Soundtrack Pro music licensing and music cue sheet procedures

Okay, so we made the movie, and we marketed it and it has been sold in several geographic territories. Now I have to make up a music cue sheet. What do I put on the cue sheet for Apple Loops and FCP and Soundtrack Pro files that I have used for music? I believe they are royalty free, which is great. But I'm supposed to identify the music cues with writer, publisher, and society (ASCAP, BMI, etc.) What does an entry for those resources look like? It's really hard to find this info in the documentation for FCP and SP. Thanks.
G5 Mac OS X (10.5.4)

Interesting question - We don't use attorneys - too expensive, and we never listen to 'em anyway, so the info didn't come from a lawyer, ha ha. But I've seen several examples of music cue sheets, and they all contain the same information, including composer, publisher, society, timing, etc. (After all, that's the purpose of the cue sheet - to see that the artists and producers get paid for their work). You can find one format at:
www.ascap.com/musicbiz/cuesheetcorner/pdf/SampleCue
Of course, if the example comes from ASCAP (as that one does) or another society (BMI, others), they are working to make their job easier, but they are the societies - they are the ones who can object if they don't like it. And they have substantial power to penalize a producer for not doing what they want. But here's the thing: there's huge tradition in Hollywood, and the rule is (and the contracts say) that if you don't provide everything on the distributor's list of deliverables, they hold your money until you do - and one of the things on the list of deliverables is a music cue sheet, and every example I've ever seen (and I've seen at least 20) asks for the same information. So that's the answer as to "who told you that?" Is is possible that I'm being led down the garden path by ASCAP and the movie industry in general? Sure, but every source I consult agrees that this is the reality. I wish I could avoid it, but as I understand the situation, I have to do it, and it has to contain the info, or we'll never see our dough, ha ha. But my question remains the same - how do I get that info for the "royalty-free" music library attached to FCP?

FCP and 3D animation discussion forum?

I have noticed, this apple support discussion forum site is very useful.
However, I'm in the 3D animation editing filed using FCP.
I have post several question regarding using my rendered frames importing into FCP and yada yada yada, and I have hard time have get down to the final solution. (don't get me wrong, I really appriciate whoever gave me suggestion and it has been helpful!!).
Here is my question... if there is anyone know forum that's more toward 3D animation using FCP?
I googled them but not much luck finding them.
If there is anyone who know any site, please let me know!!
Thank you,

yea.. sorry, my post maybe confusing...
and yes, I mostly use 3D rendered sequential stills and make mov out of it and import it into FCP.
here was my other post
http://discussions.apple.com/message.jspa?messageID=2214626#2214626
so maybe you will know what i mean....

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

FCP and xgrid system?

I am new to FCP and xgrid and I am planning on getting FCP later in the spring. My question is, for someone who has expereince with xgrid, how well does FCP utilize an xgrid system? Also could an xgrid system be possible over a wireless G network or is this way to slow? I have a powerbook as my main computer and I could utilize a mac mini, iMac G5, and some windows computers (if possible) all as clients on the xgrid system... IS this possible?
Also if you just have an xgrid system please elaborate about its infrastructure/setup, how well it works, opinions, etc...
Thank you in advance,
TM

FCP at the present time makes no use of the xgrid renderfarm capability...
Patrick

FCP and negative film color correction? Any experience?

Hello There,
I'm running into more and more low budget filmmakers who are trying there hand at making short films in Super 8 movie film (yes, it's still around believe it or not). Kodak has two new film stocks out for Super 8 and one is 200T and the other is 500T (both cut down from their pro 16mm and 35mm pro stocks).
When these filmmakers get this stuff developed they don't have the money to have it transferred at a pro shop so they are using equipment made by a company in Texas that does a very good job at transferring the film, but it doesn't have the adjustments needed to make negative film look the way it should.
I know a few people who color correct it with FCP and FCE and they can actually make it look fairly good.
My question is: is there a plug in or other software that can be used that is meant to do this? Or does anyone have any experience on this site with color correcting negative film with FCP? If so, what filters do you use?
Any thoughts or comments would be great to hear from. Remember, I know this can be done by the big players, what I want to know can it be done with FCP and still look fairly good?
Thanks for your help,
Mike

Well, this is pretty easy. Just throw a CHANNEL>INVERT on the negative footage before you color correct. You might have to do that before you even begin editing, as that turns the negative image into a positive one. It isn't Real Time though, so you'll have to render all the time...every cut. Unless you add the filter an export a self contained QT Movie of each tape. But then you lose time code.
So why do they do this again? Cheaper...OK. Ease? Not really.
Shane

FCP and Grass Valley K2

Hi All
The educational institution I am working at is considering upgrading from Grass Valley Turbo, to the K2. has anybody out there had any experience with the K2 and FCP interface?
the website says the workflow is flawless, but I want to know from someone who's actually used it. The main points is how easy it is to move media back and forth between the systems, and what kind of codecs that can be used.
We shoot lots of stuff on P2, edit in FCP, and want to move the exported projects into the K2 for use in a TV news/current affairs studio production. We also want to record programs in the studio onto the K2, and move these recordings on to FCP for further editing. In the past we have used the Turbo for this, but the process has been very clunky, unstable and complex (for our students).
Thanks in advance for your feedback.
cheers
-j-

Not really David, the K2 is essentially their video server storage system and in the context of the question it seems pretty clear our poster is talking about hanging his FCP off that storage for transfer of media to/from his FCP system(s) and/or using it as a SAN for edit in place via iSCSI connection.
Jokke, I work in a K2 SAN environment, and I work with FCP and EDIUS but our K2 system would need an upgrade for us to take full advantage of the latest capabilities, including the GV FCP Connect Plug-in so I'm afraid I can't give you first hand knowledge of the system of the current functionality ... I have researched it somewhat tho, and could probably fill in some blanks for you ...
For example, support formats for edit in place w/ FCP are currently DV (25/50/100), IMX-D10 (30/40/50), XDCAM HD/EX/HD422 (25/35/50) and read only for AVC-I (50/100)
... but I can't tell you as much as the man with the plan regarding FCP/Edius K2 integration. Grass Valley's Regis Andre is the man to contact, he's extremely knowledgeable on the subject, and if you throw him a curve that he can't answer he's quick to dig the info out for you ... for a whole lot more info and contact details of the man in question, check out his (official and) excellent "Editing on K2 San Blog" at http://k2san.blogspot.com/
Best
Andy

FCP and Rosetta questions.....

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