Re: [FCP-L] OT: Social media at work... ban it or embrace it?

I agree, the one question is always - did the work get done in the time allotted? If that is happening then they are keeping up their part of the agreement. Production SCHEDULING is what determines people's productivity, not whether they use social media. We discuss projects beforehand and have intolerant deadlines.

Bottom line, you work with creatives. We give intense concentration when the heat is on but need periodic distractions to keep from melting down. Don't punish someone for being fast to finish - just because people are doing other things as well as work doesn't mean they're stealing from you.

Here we have open internet access but no tolerance for things that may compromise the network or workstation such as P2P or downloading/installing any files/applications (including non-approved "codecs") for ANYTHING. Email is bad enough....

John McClary

--- On Thu, 11/19/09, studiodave <studiodave@sistudio.net> wrote:

> From: studiodave <studiodave@sistudio.net>
> Subject: Re: [FCP-L] OT: Social media at work... ban it or embrace it?
> To: FinalCutPro-L@yahoogroups.com
> Date: Thursday, November 19, 2009, 12:07 AM
> Back when I used to work for someone
> we had limited honer system.
> You cold do just about anything except, share files, ptp
> was blocked 
> and it was your honer and perhaps fear that you would not
> surf porn 
> sites.
> These two things would put the company at liability,
> ptp = illegal file sharing
> Porn = Sexual harassment
> Get caught, get the boot.
> This of course was as long as you got your work done.
> We would even have daily "Unreal Tournaments" going on
> during the day 
> for those on break.
>
> You would have to evaluate the loss, if any, of actual work
> being done 
> by having your employees communicate or not communicate.
> Both ways can have losses.
>
>
>
>
> studiodave
> David Wilson
> 626 303-6275
> S. I. Studio
> www.sistudio.net
>
>
>
> On Nov 18, 2009, at 8:26 PM, Mark wrote:
>
> > I can't walk through the office without hearing
> "click", "click", 
> > "Click" as people hide Facebook, IM screens, personal
> emails or 
> > whatever. I'm all for personal freedoms and
> > treating everyone like responsible adults, but at what
> point do you 
> > say, "Enough!" ?
> >
> > Our current policy is open internet for everyone, but
> I've been 
> > seeing enough evidence to make me seriously consider
> limiting 
> > access. I'm curious what kind of policies most people
> have 
> > encountered out there. Open access? No access? Limited
> access?
> >
> > Mark
> >
> >
> >
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo!
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>
>
>     FinalCutPro-L-fullfeatured@yahoogroups.com
>
>
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[FCP-L] Mac Smoke Official

15K for the system. 2K a year for support.

There is a comprehensive podcast on it here:

http://www.fxguide.com/fxguidetv.html

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Re: [FCP-L] AE renders stutter in matching XDCAM project

I haven't had any luck rendering to XDCam.

However, rendering out of AE to ProRes and then editing that into an XDCam
timeline worked just fine.

Go figure.

On Wed, Nov 18, 2009 at 9:25 PM, Paul Dougherty <lists@postlit.com> wrote:

>
>
> I'm preparing After Effects Quicktimes for a FCP project with XDCAM
> footage. Although my AE renders seem to match the footage in every
> way (below as spelled out in the various bin columns) I'm
> encountering a lot of stuttery playback on the AE renders (footage pb
> ok) though they're playing off the same SATA drive as the XDCAM
> footage. I'm a FCP newbie but baffled by this, any ideas?
>
> both the footage & AE files present as 1080p24 35/Mb/s VBR 23.98
> 1920x1080 data rate 4.3
>
> Thanks,
>
> Paul
>
> CP 6.0.6 Qt 7.6.4
>
>

[Non-text portions of this message have been removed]

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Re: [FCP-L] OT: Social media at work... ban it or embrace it?

Back when I used to work for someone we had limited honer system.
You cold do just about anything except, share files, ptp was blocked
and it was your honer and perhaps fear that you would not surf porn
sites.
These two things would put the company at liability,
ptp = illegal file sharing
Porn = Sexual harassment
Get caught, get the boot.
This of course was as long as you got your work done.
We would even have daily "Unreal Tournaments" going on during the day
for those on break.

You would have to evaluate the loss, if any, of actual work being done
by having your employees communicate or not communicate.
Both ways can have losses.

studiodave
David Wilson
626 303-6275
S. I. Studio
www.sistudio.net

On Nov 18, 2009, at 8:26 PM, Mark wrote:

> I can't walk through the office without hearing "click", "click",
> "Click" as people hide Facebook, IM screens, personal emails or
> whatever. I'm all for personal freedoms and
> treating everyone like responsible adults, but at what point do you
> say, "Enough!" ?
>
> Our current policy is open internet for everyone, but I've been
> seeing enough evidence to make me seriously consider limiting
> access. I'm curious what kind of policies most people have
> encountered out there. Open access? No access? Limited access?
>
> Mark
>
>
>

[Non-text portions of this message have been removed]

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Re: [FCP-L] OT: Social media at work... ban it or embrace it?

On 11/18/09 8:26 PM, "Mark" <markraudonis@yahoo.com> wrote:

> I can't walk through the office without hearing "click", "click", "Click" as
> people hide Facebook, IM screens, personal emails or whatever. I'm all for
> personal freedoms and treating everyone like responsible adults,
> but at what point do you say, "Enough!" ?

I know what you mean. You'd think those people would know enough not to
click their mouse and instead press command-H. That's much quieter.

> Our current policy is open internet for everyone, but I've been seeing enough
> evidence to make me seriously consider limiting access. I'm curious what kind
> of policies most people have encountered out there. Open access? No
> access? Limited access?

I've had to deal with varying levels of control (at various times as an
employee, manager, and boss). Some places use software that tracks the the
amount of time each computer user spends running different apps and visiting
different sites...and doesn't tell the users. That seems a little draconian.

Some restrict access to specific sites (Facebook, YouTube, and the like) and
disallow users to install software (including plug-ins) not deemed necessary
for their job. That also seems a bit much.

But most of those deal with corporate-owned computers at companies with
dedicated IT departments. I think with smart phones, personal laptops, and
just the nature of our media-drenched jobs, things get more difficult.

Tangential anecdote: Some people who may want to control their time-wasting
computing habits just can't do so on their own. Several years ago, a friend
of mine ended up firing someone who, despite repeated warnings and offers to
help, just couldn't stop playing Windows Solitaire. That wasn't an internet
access problem, but I'd guess it's related.

And some of the Facebook and IM stuff is like the OT discussions and
schmoozing on FCP-L...it's a social thing kinda related to work. It's not
all bad (but it's also not all good).

Maybe a serious talk/memo to the staff saying you're considering installing
internet monitoring software, but before you do that you'd like to encourage
everyone to limit their net cruising to specific times of the day (like a
coffee break, after returning from a short lunch, etc). And then maybe offer
them some tools to help them keep on task.

Oh there are probably a bunch of them...Go find a GTD fascist...I mean "GTD
enthusiast" for some recommendations.

One app that might useful is Freedom:

===
Freedom is an application that disables networking on an Apple computer for
up to eight hours at a time. Freedom will free you from the distractions of
the internet, allowing you time to code, write, or create. At the end of
your selected offline period, Freedom re-enables your network, restoring
everything as normal.

Freedom enforces freedom; a reboot is the only circumvention of the Freedom
time limit you specify. The hassle of rebooting means you're less likely to
cheat, and you'll enjoy enhanced productivity. Freedom is free, but if you
find Freedom useful, please consider a donation of ten dollars to fund
continuing development.

http://macfreedom.com/
===

There's also RescueTime that tells you (and here "you" can mean either "The
Man" or "each individual user") how computing time is spent and allows some
restriction of specific websites. The version that lets each individual
privately track his or her computing use seems empowering. The version that
lets the boss track everyone's computing use seems a bit more in their face.
But as a first step, you could encourage folks to check out the individual
(and free) version:

http://www.rescuetime.com/

I bet if you search on "Freedom" and "RescueTime" you'll find some other
apps and approaches to the problem. I read about them somewhere at the
beginning of this year (I think it was...).

The best thing is to help individuals have the tools and skills to remain
productive during work hours. But if you're paying them to perform a
specific set of tasks or type of work and they are spending time (and
therefore getting paid) to mess around with Facebook....Well, if they aren't
acting like professional adults, then they shouldn't be surprised if the
company doesn't treat them that way.

Obviously talk to HR, but I'd think going for personal empowerment first
(even though I don't really like the term "empowerment") is a good,
friendly, and possibly fruitful first step.

Or so it seems to me at this late hour...now that I'm finally done with my
computer work...

I look forward to reading what others think here. And Mark, if you can, let
us know what you end up deciding to do.

Jim

--
Jim Feeley
POV Media

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[FCP-L] Green screen in DVDSP

I never encountered this before but I am trying to make a dvd in SP
and for some reason the first few seconds are green, then the video
starts. Happens with or without a menu. Normally there should be
black here. The Apple site says disable sleep in prefs so I did but
its still there. anyone ever see this?

Lou

Lou Wirth Productions
500Tamal Plaza, Suite 522
Corte Madera, CA 94925
www.louwirth.com
415-924-9411p

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[FCP-L] OT: Social media at work... ban it or embrace it?

I can't walk through the office without hearing "click", "click", "Click" as people hide Facebook, IM screens, personal emails or whatever. I'm all for personal freedoms and
treating everyone like responsible adults, but at what point do you say, "Enough!" ?

Our current policy is open internet for everyone, but I've been seeing enough evidence to make me seriously consider limiting access. I'm curious what kind of policies most people have encountered out there. Open access? No access? Limited access?

Mark

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[FCP-L] AE renders stutter in matching XDCAM project

I'm preparing After Effects Quicktimes for a FCP project with XDCAM
footage. Although my AE renders seem to match the footage in every
way (below as spelled out in the various bin columns) I'm
encountering a lot of stuttery playback on the AE renders (footage pb
ok) though they're playing off the same SATA drive as the XDCAM
footage. I'm a FCP newbie but baffled by this, any ideas?

both the footage & AE files present as 1080p24 35/Mb/s VBR 23.98
1920x1080 data rate 4.3

Thanks,

Paul

CP 6.0.6 Qt 7.6.4

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Re: [FCP-L] G-Tech Quad drives

Thanks, they seem to be what I am looking for...
On Nov 18, 2009, at 12:10 PM, Shane Ross wrote:

> Caldigit VR. I have a 2TB model and love it. They have 4TB available
> too. I also like MaxxDIgital's Edit Vaults.
>
> -shane
>
> On Nov 18, 2009, at 8:36 AM, Anthony wrote:
>
>> Hey folks, looking to replace my G-Tech Quad drives. Last few gave
>> me a lot of trouble and I have had it with the power source
>> connectors falling out. I need desktop 500 or 1tb drives with at
>> least firewire 800. I am in the school memory business so each
>> school has its own drive. I was looking at the Glyph drives...any
>> help or guidance would be appreciated....
>> Thanks, Anthony
>>
>>
>>
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
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>

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Re: [FCP-L] Files from XDCAM HD Disc

Thank you, Andy. I emailed that to my client. I'm pretty sure his client
has already shipping the disc, but if they decide to go with the
Calibrated Q MXF Import, I'll let you know what happens.

Brian

Andy wrote:
> Brian
> He can use MXF4Mac's MXF Import or Calibrated Q's MXF Import ... either of those would allow your client to directly access the MXF files, however both are commercial solutions, priced at aprox 400USD and 90USD respectively
> Best
> Andy
>
>
>
> --- In FinalCutPro-L@yahoogroups.com, B Conner - FCP-L <bconner.fcp-l@...> wrote:
>> Thanks, Andy, but he doesn't have AE.
>>
>>
>> Brian
>>
>>
>> Andy Edwards wrote:
>>
>>> Do you have access to After Effects? When I received some raw mxf
>>> files without any disc, I was able to just import them into AE and
>>> render out QuickTime Files. Did you try and import the xml files in
>>> FCP? Maybe someone else might have some simpler instructions if you
>>> cannot get access to the original XDCAM HD Disc.
>>>
>>> Andy Edwards

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Re: [FCP-L] Files from XDCAM HD Disc

Brian
He can use MXF4Mac's MXF Import or Calibrated Q's MXF Import ... either of those would allow your client to directly access the MXF files, however both are commercial solutions, priced at aprox 400USD and 90USD respectively
Best
Andy

--- In FinalCutPro-L@yahoogroups.com, B Conner - FCP-L <bconner.fcp-l@...> wrote:
>
> Thanks, Andy, but he doesn't have AE.
>
>
> Brian
>
>
> Andy Edwards wrote:
>
> > Do you have access to After Effects? When I received some raw mxf
> > files without any disc, I was able to just import them into AE and
> > render out QuickTime Files. Did you try and import the xml files in
> > FCP? Maybe someone else might have some simpler instructions if you
> > cannot get access to the original XDCAM HD Disc.
> >
> > Andy Edwards
>

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Re: [FCP-L] Was Murch, now Avid/FCP

Tom,

> Tom Wolsky wrote:
> It does not take you to the out point.

I believe he might have been referring to the behavior in the Motion tab. It's contextual. When you've double-clicked a timeline clip to load it into the Viewer and add Motion keyframes, you get this behavior.

You have to actually be in the Motion tab, not on the timeline. Shift-O takes you to the last frame of that clip, which is the last keyframeable point within that clip as it occurs on the timeline. Likewise, when you are in the Motion tab, Shift-I takes you to the start of the clip as a first keyframeable location.

- Oliver

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Re: [FCP-L] Was Murch, now Avid/FCP

Did you try this? You could test it in a minute. It does not take you to the out point. It will take you to the next edit or the previous edit just like the up and down arrows, but it does not go to the out point of a clip.

AFAIK there is no function in FCP that can be mapped to do this.

All the best,

Tom

On Nov 18, 2009, at 1:14 PM, John wrote:

> I believe they are, Steve, and that's because FCP treats all clip's
> boundaries (ins and outs) as motion keyframes.
> If one wants to jump there, going next-previous keyframe, is the way
> you go. It's not a single-key-shortcut indeed, Is that relevant?
> And I'm not advocating bringing Avid thinking into FCP's workflow, that's
> not a good thing. We should "adjust" to each one.
> Hence the tip of using those next-previous keyframes along with track
> selection.
>
>
> Cheers
>
>
> On Wed, Nov 18, 2009 at 4:42 PM, Steve Hullfish <steve4lists@veralith.com>wrote:
>
>> shit+k and option+k isn't the same (though the results are) for what
>> he asked for, which is a single keystroke/mouse modified move to find
>> the last outgoing frame, like the Avid has.
>>
>> Command dragging locks you to the incoming frame in Avid and option-
>> command dragging locks you to the outgoing frame. Very handy.
>>
>> Inexperienced Avid users probably use the same functionality that is
>> available in Final Cut. I did for my first year on the system. And if
>> you look at the work of many poor editors, they don't even know that
>> the end of the outgoing frame is different than the beginning of the
>> incoming frame because you can see flash frames or their titles and
>> other layers above cut off one frame early or late.
>>
>> On Nov 18, 2009, at 12:32 PM, John wrote:
>>
>>> Yes, for the first Q;
>>> Next Keyframe (shift+k) and Previous Keyframe (opt+k)
>>> It will behave like an Avid, depending on the track selected.
>>> One could map "buttons" to the interface as well.
>>>
>>> Cheers
>>>
>>> On Wed, Nov 18, 2009 at 1:13 PM, Roger Shufflebottom
>>> <rshuff@tiscali.co.uk>wrote:
>>>
>>>>
>>>>
>>>> OK - no flame but as a double-headed editor, here is a Q: Is there
>>> an
>>>> FCP shortcut to snap to the last frame of a clip or segment rather
>>>> than the head of the incoming clip (handy for setting an Out mark)?
>>>> And another Q: Is there a way of stepping through interlaced footage
>>>> field by field, rather than frame by frame? I know how to do both
>>>> these on an Avid. TIA.
>>>> +++
>>>> With best wishes,
>>>>
>>>> Roger Shufflebottom
>>>> http://www.bottom-line.tv
>>>> Tel: +44 1992 535 031 (UK)
>>>> Mobile: +44 7973 543 660
>>
>
>
> [Non-text portions of this message have been removed]
>
>
>
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>

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[FCP-L] Silverado ColoRig

On Nov 18, 2009, at 10:42 AM, Lou Wirth wrote:

> What is the latest on this box?

Lou,

The unit runs like a champ. Workflow pic here:

http://bit.ly/3Q7JrR

In the pic it shows a SCRATCH system pictured next to it, but it really doesn't care about whether the SDI feed is SCRATCH, Final Cut, Premiere, etc...

The engineering is done, but our challenge is the chassis housing. We wanted to put it into a super clean 2U system, but those chassis won't be ready for about 4-5 weeks--and a lot of folks really want this now. So we are shipping now in the standard black 2U rack system here:

http://bit.ly/1Ix1Mr

Users who get the system now can opt to have their updated ColoRig chassis sent to them later at no charge (we'll cover the freight) or they can take a $300 instant rebate on the system if they are fine with the black 2U chassis.

Here is a render of what the final unit will look like when they arrive:

http://www.twitpic.com/q0uh2

Please note--the new chassis are NOT an extra $300. The $300 instant rebate is a limited time incentive for early adopters. When the new chassis arrive, the price will go up to $2795 permanently.

The link is live now for ordering:

http://bit.ly/29WlHm

Torrey
-----------------------------------------------
Torrey Loomis
President & CEO - Silverado Systems, Inc.
(916) 760-0032 • FAX (916) 404-5258
torrey@silverado.cc
http://www.Silverado.cc

Silverado Twitter at http://www.twitter.com/silveradosys
StudioBuilder blog at http://silveradosys.blogspot.com

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[FCP-L] Re:Free Pan & Zoom plug-in from Noise Industries

Thanks, Jim. I had been looking for something just like this that plays
well with FCP. After one brief try out it seems to work pretty well.
The fact that it allows rotation of the image elevates it beyond the
other plug-ins around (including Avid's built-in Pan and Zoom).

Peter

"The Pan and Zoom plug-ins let you create the photo animation style made
popular by Ken Burns with intuitive controls and automatic motion
control
that achieves stunning results without a single keyframe."

More info, download links here:

<http://www.noiseindustries.com/fxfactory/panandzoom/>

Note the plug-in requires Noise Industries' free FxFactory engine (also
downloadable at the above page.

Jim "found it via a Studiodaily advert email" Feeley
--
Peter Rhodes
pmrhodes@fastmail.fm

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[FCP-L] Re: Free Pan & Zoom plug-in from Noise Industries

Jim, thanks for that. I tried out the plug-in. Many great features and good quality, but I find the workflow impossible to deal with. Does anyone here use it and like it?

My complaint about it ties in with the recent debate over on the Avid L2, in which both Avid's Pan & Zoom and FCP's ability to zoom with the Motion tab (as opposed to Motion) were bad-mouthed repeatedly. The FX Factory plug-in is a video generator, not an effect that gets dropped onto an existing still image clip in the Timeline. (The Avid Pan & Zoom effect gets dropped onto a placeholder clip in the timeline, at which point it works similarly.)

I find it inconceivable that I could work in a timeline full of placeholder video generators named "Pan and Zoom (Accelerated)" rather than the still image files themselves. Is this a failure of my imagination? ;) Is there a workaround?

I need to throw stills into the sequence, cut them against the audio, shuffle them around, swap in and out different stills, stack them up and/or checkerboard them sometimes, and THEN apply "Ken Burns" moves, not the other way around.

We all agree that the scaling in FCP could be much, much better, but 95% of the time it's "good enough for government work," as they say. I'd love to do round trips to Motion because the quality is nicer, but I don't have time for that when I'm cutting; inevitably there will be multiple copy changes and new voice overs, new music, new stills, etc., all requiring extensive recutting of the picture, and the deadline will always be "five minutes ago."

(Off on a tangent rant: My main gripe with Final Cut Studio is the whole "studio" approach. This was also touched on by a few people on the Avid L2. The Final Cut approach involves too much offline/online thinking and too many round trips to separate applications.)

Take care -- Mark

--- In FinalCutPro-L@yahoogroups.com, Jim Feeley <jfeeley@...> wrote:
>
> "The Pan and Zoom plug-ins let you create the photo animation style made
> popular by Ken Burns with intuitive controls and automatic motion control
> that achieves stunning results without a single keyframe."
>
> More info, download links here:
>
> <http://www.noiseindustries.com/fxfactory/panandzoom/>
>
> Note the plug-in requires Noise Industries' free FxFactory engine (also
> downloadable at the above page.
>
>
> Jim "found it via a Studiodaily advert email" Feeley
>

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Re: [FCP-L] The Real story about controversial WW2 film archival procedures

I agree that my article needs to be taken with as much salt as
anything else on the internet. I make mistakes as Jeff pointed out,
though trying to transcribe exact words from a phone interview with a
guy with a French accent is NOT easy. I only know the intent of my own
article (to be honest and provide what I believe are the facts) and
that I have the source audio so I know what was really said and that I
have some semblance of understanding of the topic, so my contextual
understanding of what was said is colored by that.

Jeff Kreines had excellent comments on the article and I noted them
and responded to them. I am updating the article right now (revisions
will be up in maybe an hour) with new photos and information from Mr.
Lumiere who also read Jeff's comments.

On Nov 18, 2009, at 11:08 AM, egleske wrote:

> Steve Hullfish typed and sent:
>
> > Here's the URL for my story on www.provideocoalition.com. If I say
> so
> > myself, it's an interesting read. It may not quell the debate over
> the
> > transfer procedures. It may actually inflame them.
> >
> > By the way, the series was edited on Final Cut Pro and EditShare and
> > color corrected on Apple Color.
> >
> > On Nov 18, 2009, at 2:17 AM, Eric J. Gleske wrote:
>
> Thanks for pointing me in the correct direction for another look at
> this topic- albeit on the internet... ;-)
>
> It is an interesting read. It sounds like an interesting project in
> scope and scale. I'm sure that everyone involved in their production
> and technical capacities brought their "A" game and tackled a
> monumental task in a productive manner.
>
> The intense debate is and should be over the handling of archival
> materials; not about cropping decisions, cards, cameras, and codecs
> used, or whether it was posted on a Mac or PC. As of this morning,
> LumiereHD.com is still promoting the Shakefire.com interview on
> their homepage, but not yours, which could perhaps clarify the very
> items that touched of the raging debate. Archivist and those who
> work with them are rightly ruffled when reading such things as are
> being promoted by Lumiere. At the very least, for people working on
> the next project of similar scope, greater care will be taken with
> ALL materials, no matter how trivial they might be thought by those
> handling them.
>
> I think Jeff Kreines' comments at your article are worth noting as
> well, and should be used to further other important discussions.
>
> Back to the internet to find my kidneys...
>
> Eric Gleske
> Somewhat in Oregon
>
>
>

[Non-text portions of this message have been removed]

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Re: [FCP-L] G-Tech Quad drives

Caldigit VR. I have a 2TB model and love it. They have 4TB available
too. I also like MaxxDIgital's Edit Vaults.

-shane

On Nov 18, 2009, at 8:36 AM, Anthony wrote:

> Hey folks, looking to replace my G-Tech Quad drives. Last few gave
> me a lot of trouble and I have had it with the power source
> connectors falling out. I need desktop 500 or 1tb drives with at
> least firewire 800. I am in the school memory business so each
> school has its own drive. I was looking at the Glyph drives...any
> help or guidance would be appreciated....
> Thanks, Anthony
>
>
>

[Non-text portions of this message have been removed]

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Re: [FCP-L] The Real story about controversial WW2 film archival procedures

Steve Hullfish typed and sent:

> Here's the URL for my story on www.provideocoalition.com. If I say so
> myself, it's an interesting read. It may not quell the debate over the
> transfer procedures. It may actually inflame them.
>
> By the way, the series was edited on Final Cut Pro and EditShare and
> color corrected on Apple Color.
>
> On Nov 18, 2009, at 2:17 AM, Eric J. Gleske wrote:

Thanks for pointing me in the correct direction for another look at this topic- albeit on the internet... ;-)

It is an interesting read. It sounds like an interesting project in scope and scale. I'm sure that everyone involved in their production and technical capacities brought their "A" game and tackled a monumental task in a productive manner.

The intense debate is and should be over the handling of archival materials; not about cropping decisions, cards, cameras, and codecs used, or whether it was posted on a Mac or PC. As of this morning, LumiereHD.com is still promoting the Shakefire.com interview on their homepage, but not yours, which could perhaps clarify the very items that touched of the raging debate. Archivist and those who work with them are rightly ruffled when reading such things as are being promoted by Lumiere. At the very least, for people working on the next project of similar scope, greater care will be taken with ALL materials, no matter how trivial they might be thought by those handling them.

I think Jeff Kreines' comments at your article are worth noting as well, and should be used to further other important discussions.

Back to the internet to find my kidneys...

Eric Gleske
Somewhat in Oregon

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[FCP-L] G-Tech Quad drives

Hey folks, looking to replace my G-Tech Quad drives. Last few gave me a lot of trouble and I have had it with the power source connectors falling out. I need desktop 500 or 1tb drives with at least firewire 800. I am in the school memory business so each school has its own drive. I was looking at the Glyph drives...any help or guidance would be appreciated....
Thanks, Anthony

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Re: [FCP-L] Was Murch, now Avid/FCP

As I thought - thanks for that.

On 18 Nov 2009, at 15:21, Tom Wolsky wrote:

In the timeline there is not a go to last frame shortcut. You can go
to the edit with up and down arrows and then use the left arrow to
step back one frame.

You cannot step through fields in FCP. You can only see fields
displayed in the frame when the Canvas or Viewer is set to 100%.

All the best,

Tom

+++
With best wishes,

Roger Shufflebottom
Avid Certified Instructor
http://www.bottom-line.tv
Tel: +44 1992 535 031 (UK)
Mobile: +44 7973 543 660

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Re: [FCP-L] Was Murch, now Avid/FCP

In the timeline there is not a go to last frame shortcut. You can go to the edit with up and down arrows and then use the left arrow to step back one frame.

You cannot step through fields in FCP. You can only see fields displayed in the frame when the Canvas or Viewer is set to 100%.

All the best,

Tom

On Nov 18, 2009, at 9:13 AM, Roger Shufflebottom wrote:

> OK - no flame but as a double-headed editor, here is a Q: Is there an
> FCP shortcut to snap to the last frame of a clip or segment rather
> than the head of the incoming clip (handy for setting an Out mark)?
> And another Q: Is there a way of stepping through interlaced footage
> field by field, rather than frame by frame? I know how to do both
> these on an Avid. TIA.
> +++
> With best wishes,
>
> Roger Shufflebottom
> http://www.bottom-line.tv
> Tel: +44 1992 535 031 (UK)
> Mobile: +44 7973 543 660
>
>
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>

[Non-text portions of this message have been removed]

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[FCP-L] Was Murch, now Avid/FCP

OK - no flame but as a double-headed editor, here is a Q: Is there an
FCP shortcut to snap to the last frame of a clip or segment rather
than the head of the incoming clip (handy for setting an Out mark)?
And another Q: Is there a way of stepping through interlaced footage
field by field, rather than frame by frame? I know how to do both
these on an Avid. TIA.
+++
With best wishes,

Roger Shufflebottom
http://www.bottom-line.tv
Tel: +44 1992 535 031 (UK)
Mobile: +44 7973 543 660

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Re: [FCP-L] Re: Murch "back on Avid" for at least one film...

I would also add that the best investment I made during the switch was
to get an FCP keyboard. It's a very handy cheat and helped me smooth
the changeover.

Benny Christensen
Producers Playhouse
Oklahoma City
405-858-0700

"There is only one thing that can kill the Movies, and that is
education." - Will Rogers

On Nov 18, 2009, at 3:26 AM, Martin Baker wrote:

> If an editor is going to be moving from exclusively Avid to
> exclusively FCP, I've always discouraged them from making an "Avid-
> like" FCP keyboard layout. Even though it might feel more
> comfortable in the short term, psychologically it doesn't help in
> making a clean break and throwing out the old habits. "Why can't it
> just do this? etc. OTOH for someone that is constantly bouncing
> between the two, I can see it would be worthwhile remapping the main
> editing keys to be the same.
>
> and I can confirm that Loren is indeed a man.
>
> Martin Baker
> www.digital-heaven.co.uk
> www.twitter.com/digitalheaven
> www.videospaceonline.com
> www.finalcutters.com
> www.funkycloud.com/lifeshaker
> ------------------------------------------------------
> Digital Heaven Ltd is registered in England and Wales
> Company registration number: 3628396
> Registered address: 55 Lynwood Drive, Worcester Park, Surrey KT4 7AE
> VAT registration number: GB 736 0989 03
>
> On 18 Nov 2009, at 07:03, Steve Hullfish wrote:
>
>> By the way, I believe, Loren is a man...
>>
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>

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Re: [FCP-L] Re: Murch "back on Avid" for at least one film...

On Nov 18, 2009, at 4:26 AM, Martin Baker wrote:

> and I can confirm that Loren is indeed a man.

And I probe:

Indeed . . . and how did you arrive at this conclusion? ;)
(Nevermind. TMI, TMI)

Dennis Degan, Video Editor-Consultant-Knowledge Bank
NBC Today Show, New York

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[FCP-L] Panasonic GH1 success story

Last week I had my first production shoots using the Panasonic GH1.
As usual I hardly prepared myself, apart from charging the batteries.
Some people need to feel the breath of a deadline blowing in the back
of their necks to get going and I am one of them. If there were no
deadlines I would be drinking beer in my bed all the time probably.

Anyway, I also brought my MacBookPro with FCS to the set.

Everything went like a dream. Shooting video with the GH1 is much
easier than I thought, I was using a Tokina 11-16 wide angle lens
which has huge DOF so I didn't have to do much focusing. I was
recording audio with a remote Zoom recorder with two XLR mikes
attached. After each shoot I copied the content of the SD cards
(private folders) to the desktop of the MacBookPro, and used FCS log
and transfer for converting to ProRes422.

The material looks amazing on the Book screen. For me it's a dream
come true, because from the day I've started shooting video
(somewhere in 1991) I always found that video looks horrible.

I do need to improve my work flow though, like linking video to audio
somehow to make the manual synchronization a bit easier (for example
I now have 42 30 minute video-clips and 6 4 hour audio-clips lol!), I
need to get a follow focus system for the camera so that I can focus
when the camera is in difficult positions and I need to get a grid
for hand held operation. I was now shooting from a dolly most of the time.

DSLR video filming in combination with FCS is fantastic. I must say
that I use a PAL version shooting FHD at 25fps so I don't have to go
through the pull-down removal routine.

Rieni

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Re: [FCP-L] Re: Murch "back on Avid" for at least one film...

We may meet on the road in GB, I drive a JCB, - in the middle of the
road . . . . .
On 18 Nov 2009, at 07:55, Robin S. Kurz wrote:

> I always drive on the right side when in GB, just to make the point
> that they're lame and their traffic laws are broken and sucky and I
> know better. Weird how unappreciative them brits can be. :-P

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Re: [FCP-L] Re: Murch "back on Avid" for at least one film...

I do the same. The systems are so different that you lose a lot trying
to merge them. And importantly, leaving the keyboards different trains
you're brain to make the transition faster and more cleanly. Everytime
I hit a wrong keystroke, it bumps my head further into the system I'm
working on that day. And I do alternate Avid & FCP, often daily.

--
Jeff Cook
jeff@cookstudios.com
CookStudios.com
703-980-1104 (cell)

On Nov 18, 2009, at 4:26 AM, Martin Baker <martin@digital-
heaven.co.uk> wrote:

> If an editor is going to be moving from exclusively Avid to
> exclusively FCP, I've always discouraged them from making an "Avid-
> like" FCP keyboard layout. Even though it might feel more
> comfortable in the short term, psychologically it doesn't help in
> making a clean break and throwing out the old habits. "Why can't it
> just do this? etc. OTOH for someone that is constantly bouncing
> between the two, I can see it would be worthwhile remapping the main
> editing keys to be the same.
>
> and I can confirm that Loren is indeed a man.
>
> Martin Baker
> www.digital-heaven.co.uk
> www.twitter.com/digitalheaven
> www.videospaceonline.com
> www.finalcutters.com
> www.funkycloud.com/lifeshaker
> ------------------------------------------------------
> Digital Heaven Ltd is registered in England and Wales
> Company registration number: 3628396
> Registered address: 55 Lynwood Drive, Worcester Park, Surrey KT4 7AE
> VAT registration number: GB 736 0989 03
>
> On 18 Nov 2009, at 07:03, Steve Hullfish wrote:
>
>> By the way, I believe, Loren is a man...
>>
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>

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Re: [FCP-L] Re: Murch "back on Avid" for at least one film...

If an editor is going to be moving from exclusively Avid to exclusively FCP, I've always discouraged them from making an "Avid-like" FCP keyboard layout. Even though it might feel more comfortable in the short term, psychologically it doesn't help in making a clean break and throwing out the old habits. "Why can't it just do this? etc. OTOH for someone that is constantly bouncing between the two, I can see it would be worthwhile remapping the main editing keys to be the same.

and I can confirm that Loren is indeed a man.

Martin Baker
www.digital-heaven.co.uk
www.twitter.com/digitalheaven
www.videospaceonline.com
www.finalcutters.com
www.funkycloud.com/lifeshaker
------------------------------------------------------
Digital Heaven Ltd is registered in England and Wales
Company registration number: 3628396
Registered address: 55 Lynwood Drive, Worcester Park, Surrey KT4 7AE
VAT registration number: GB 736 0989 03

On 18 Nov 2009, at 07:03, Steve Hullfish wrote:

> By the way, I believe, Loren is a man...
>

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Re: [FCP-L] The Real story about controversial WW2 film archival procedures

Here's the URL for my story on www.provideocoalition.com. If I say so
myself, it's an interesting read. It may not quell the debate over the
transfer procedures. It may actually inflame them.

By the way, the series was edited on Final Cut Pro and EditShare and
color corrected on Apple Color.

On Nov 18, 2009, at 2:17 AM, Eric J. Gleske wrote:

> Steve Hullfish typed and sent:
> -------------------
>
> >You can't believe everything you read on the internet.
> >I spoke directly to the editor.
>
> As to the former, I don't. Thank you for that sage advice. And as to
> the latter, unlike you, I didn't. Thanks for taking the initiative.
>
> >Nearly ALL of the footage
> >was transferred by post-production companies that
> >have exclusive agreements (because they are VERY
> >CAREFUL AND SKILLED) to transfer footage from these rare
> >resources.
>
> "Nearly ALL" is merely a subset of all the materials they accessed,
> and in this interview, Lumiere admits to destroying material that
> falls outside of that subset:
>
> <<http://www.shakefire.com/interviews/movie/frederic-lumiere-wwii-in-hd
> >http://www.shakefire.com/interviews/movie/frederic-lumiere-wwii-in-
> hd>
>
> This link was posted by Jeff Kreines on the AMIA list, which got a
> raging debate ball rolling. Apparently, Lumiere must stand by it, as
> he is promoting the interview with a link on his blog at
> <http://www.lumierehd.com/>. Curiously, I don't see a link to an
> interview conducted by you; perhaps you can get him to post it soon.
>
> >If you have ever tried to use footage from the National
> >Archives you would know this.
>
> I have, thanks. Nice folks, great to deal with, superb, efficient
> service, and with fantastic quality. Makes me glad to pay taxes,
> truth be told. Knowing the care and regard archivists show towards
> materials such as these, one can only imagine the indignation folks
> would suffer thinking that someone would act such a way as the
> Lumiere has promoted himself as having acted to even a tiny portion
> of the materials accessed for their program.
>
> >That is why I did the interview with
> >Lumiere in the first place.
>
> Again, as referenced above, please share it with us, or a link. I've
> not seen your interview referenced on the AMIA list, but the
> shakefire.com interview has drawn lots of attention. I, for one,
> would be thrilled to hear from Lumiere or the History Channel that
> the materials and interviews they used to promote their work were
> false.
>
> Going back to your first point, while you can't expect to believe
> everything you read on the internet, when a director admits to
> destroying original footage in the process of projecting it, I'll
> give weight to his direct quotes until he retracts them in that same
> forum. Especially when said director promotes that interview on his
> own website.
>
> >I knew that the story had to be essentially bogus and it is.
>
> Let me make one thing perfectly clear at this point: I don't doubt
> you, Steve. I believe that you spoke with Lumiere and he recanted to
> you.
>
> I certainly hope so. But one question bugs me: Why would Lumiere,
> whom one would presume values these source materials in much the same
> way as other archivists, having worked with many of these talented
> individuals to create his program, share this story with us if it was
> bogus? If the Shakefire.com interview is bogus or grossly
> misrepresents events that transpired in the production of "WWII in
> HD", why promote the interview on his website without adding
> "clarification"?
>
> >Lumiere confirmed that one reel of 8mm family film from the 1940s was
> >damaged in projection but not horribly.
>
> Well, in the Shakefire interview, Lumiere referred to things like
> this happening "at times." Plural. So it can be corrected - it would
> be nice the record were set straight. Maybe post it on the internet,
> where it can be compared with other, presumably direct quotes that
> have appeared on the internet, where people can't believe them
> because they read them on the internet.
>
> Again, referring to the article that started one of the raging
> debates, Lumiere is quoted as stating, "Most of the time, we were
> able to preserve it as the film basically self destructed by the end
> of the reel. Sometimes, the film was not recoverable." Them's
> fighting words in Archiveland, and have not been retracted at that
> forum. Again, he referenced events in the plural sense, and did not
> make it sound a like it was a one-time-only, minor event.
>
> >So griping about "killing 60 year old source materials" is about the
> >same as worrying that men are being seduced into hotel rooms where
> >their kidneys are being cut out and they wake up in a bathtub full of
> >ice with a note "Call a hospital immediately" taped to their chest.
> Some
> >things aren't true. Hopefully, your schools system has the same ban
> >against using Wikipedia as ours does.
>
> Bad analogy. I went to Snopes.com, and they tell me the kidney story
> is bogus. They don't have anything on this Lumiere fellow, except
> what he puts out there himself at <http://www.lumierehd.com/>.
>
> Again, let me be perfectly clear: I don't doubt you, Steve. I hope
> you're right. But if you are, then I am terribly disappointed with
> the Lumiere guy for so cavalierly allowing a raging debate to rage as
> high as it has. He should know better than to admit to killing
> 60-year old source material to make a cable TV show after working
> with archivists who provided "nearly ALL" of the other footage.
>
> By the way...your message rebutting me: it came to me via the
> internet...
>
> With best regards,
>
> Eric Gleske
> Someone in Oregon
>
> --
> --------------------
> "Whenever I got involved in anything related to a university,
> I was reminded of how seriously everyone took everything,
> particularly themselves, and I had to keep a firm grip
> on my impulse to make fun."
> ~Robert B. Parker, "Hush Money" (1999)
>
>

[Non-text portions of this message have been removed]

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Re: [FCP-L] The Real story about controversial WW2 film archival procedures

Steve Hullfish typed and sent:
-------------------

>You can't believe everything you read on the internet.
>I spoke directly to the editor.

As to the former, I don't. Thank you for that sage advice. And as to
the latter, unlike you, I didn't. Thanks for taking the initiative.

>Nearly ALL of the footage
>was transferred by post-production companies that
>have exclusive agreements (because they are VERY
>CAREFUL AND SKILLED) to transfer footage from these rare
>resources.

"Nearly ALL" is merely a subset of all the materials they accessed,
and in this interview, Lumiere admits to destroying material that
falls outside of that subset:

<<http://www.shakefire.com/interviews/movie/frederic-lumiere-wwii-in-hd>http://www.shakefire.com/interviews/movie/frederic-lumiere-wwii-in-hd>

This link was posted by Jeff Kreines on the AMIA list, which got a
raging debate ball rolling. Apparently, Lumiere must stand by it, as
he is promoting the interview with a link on his blog at
<http://www.lumierehd.com/>. Curiously, I don't see a link to an
interview conducted by you; perhaps you can get him to post it soon.

>If you have ever tried to use footage from the National
>Archives you would know this.

I have, thanks. Nice folks, great to deal with, superb, efficient
service, and with fantastic quality. Makes me glad to pay taxes,
truth be told. Knowing the care and regard archivists show towards
materials such as these, one can only imagine the indignation folks
would suffer thinking that someone would act such a way as the
Lumiere has promoted himself as having acted to even a tiny portion
of the materials accessed for their program.

>That is why I did the interview with
>Lumiere in the first place.

Again, as referenced above, please share it with us, or a link. I've
not seen your interview referenced on the AMIA list, but the
shakefire.com interview has drawn lots of attention. I, for one,
would be thrilled to hear from Lumiere or the History Channel that
the materials and interviews they used to promote their work were
false.

Going back to your first point, while you can't expect to believe
everything you read on the internet, when a director admits to
destroying original footage in the process of projecting it, I'll
give weight to his direct quotes until he retracts them in that same
forum. Especially when said director promotes that interview on his
own website.

>I knew that the story had to be essentially bogus and it is.

Let me make one thing perfectly clear at this point: I don't doubt
you, Steve. I believe that you spoke with Lumiere and he recanted to
you.

I certainly hope so. But one question bugs me: Why would Lumiere,
whom one would presume values these source materials in much the same
way as other archivists, having worked with many of these talented
individuals to create his program, share this story with us if it was
bogus? If the Shakefire.com interview is bogus or grossly
misrepresents events that transpired in the production of "WWII in
HD", why promote the interview on his website without adding
"clarification"?

>Lumiere confirmed that one reel of 8mm family film from the 1940s was
>damaged in projection but not horribly.

Well, in the Shakefire interview, Lumiere referred to things like
this happening "at times." Plural. So it can be corrected - it would
be nice the record were set straight. Maybe post it on the internet,
where it can be compared with other, presumably direct quotes that
have appeared on the internet, where people can't believe them
because they read them on the internet.

Again, referring to the article that started one of the raging
debates, Lumiere is quoted as stating, "Most of the time, we were
able to preserve it as the film basically self destructed by the end
of the reel. Sometimes, the film was not recoverable." Them's
fighting words in Archiveland, and have not been retracted at that
forum. Again, he referenced events in the plural sense, and did not
make it sound a like it was a one-time-only, minor event.

>So griping about "killing 60 year old source materials" is about the
>same as worrying that men are being seduced into hotel rooms where
>their kidneys are being cut out and they wake up in a bathtub full of
>ice with a note "Call a hospital immediately" taped to their chest. Some
>things aren't true. Hopefully, your schools system has the same ban
>against using Wikipedia as ours does.

Bad analogy. I went to Snopes.com, and they tell me the kidney story
is bogus. They don't have anything on this Lumiere fellow, except
what he puts out there himself at <http://www.lumierehd.com/>.

Again, let me be perfectly clear: I don't doubt you, Steve. I hope
you're right. But if you are, then I am terribly disappointed with
the Lumiere guy for so cavalierly allowing a raging debate to rage as
high as it has. He should know better than to admit to killing
60-year old source material to make a cable TV show after working
with archivists who provided "nearly ALL" of the other footage.

By the way...your message rebutting me: it came to me via the internet...

With best regards,

Eric Gleske
Someone in Oregon

--
--------------------
"Whenever I got involved in anything related to a university,
I was reminded of how seriously everyone took everything,
particularly themselves, and I had to keep a firm grip
on my impulse to make fun."
~Robert B. Parker, "Hush Money" (1999)

------------------------------------

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