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shift-s toggles scrubbing.
by Andrew Kines
- Café LA
Probably not but there are a ton of software DVD players out there that people are using on their PCs that may or may not show full raster.
If you are in control of the only disk, player and screen for playback, you're in the clear if you can test your machines before playback.
BTW I believe that the flicker is the result of line one of the odd field being only half the length of the others.
by Andrew Kines
- Café LA
I can't seem to search the Apple support site right now but there is a document that spells it out. The upshot is that journaling requires some drive access and activity to maintain the index in case of a crash. If you are running close to the bandwidth limit of your drive, turning off journaling may give you a bit more overhead. Only recommended for media drives and any drives in which read/wri
by Andrew Kines
- Café LA
Squelch? What, was he recording through a CB radio? I mean I'm askin' you people, what is up with that?
by Andrew Kines
- Café LA
You can do it in Disk Utility by holding down option when you select File. I did it in 10.4 but I am on 10.3 right now so I can't confirm which menu option it is.
ak
by Andrew Kines
- Café LA
Similar to this topic I came across another Multi-clip issue. We're cutting anamorphic footage but using the 16x9 setting on the monitor to do the squeeze, not in FCP. In one scene assembly out of 33, the multiclip seems to have been squeezed so in the monitor it's double squeezed. I tracked it down and theres a distort setting in the motion tab which is not in the source clips of the multi, or
by Andrew Kines
- Café LA
Frank, I have worked with Andreas on some issues we had with his highly useful, and crucial to our production, BWF2XML utility and after a bit of confusion I came to understand his use of terminology which was actually helpful in describing the issue to a non-tech person who was getting caught up in all the numbers and acronyms.
By 'slow seconds' he means that one second of TC would be longer (s
by Andrew Kines
- Café LA
Using the Pomfort FrameCalculator I just found, a show like ours that is supposed to time out at 22:15 including 3 ten second blacks and all packaging, would in a 23.976 sequence that ended at 22:15:00 actually be 22:16:08 in realtime ( I just got the TC Calc, and I think that's right but I haven't read the How-to yet)
Thanks everyone...
by Andrew Kines
- Café LA
There is no 23.976 Drop frame TC in FCP.
It's Non-Drop all the way, as far as I can tell.
by Andrew Kines
- Café LA
So, as there is no capability in FCP for 23.976 Drop frame sequence TC that I could find, how are people checking duration other than running 23.976NDF times through a TC Calculator?
ak
EDIT: just saw your post Frank. Thanks, I guess that's the way to go.
by Andrew Kines
- Café LA
I have stayed away from subclips like they're the plague after past experience and from reading this and other forums. I'm not a big subclip user on Avid gigs either. Although the "import ALE and make subs based on master clips" function was a lifesaver back in MC 7.2.
You are seeing some behaviour we saw when we first got into this project during an unplanned (not by me) but much
by Andrew Kines
- Café LA
I would love to stand corrected on this as it would make my life easier, but as I see it
The 30:00:00 mark of a 29.97 DROP FRAME sequence is not the same duration as
The 30:00:00 mark of a 29.97 NON DROP FRAME sequence.
The Drop Frame sequence is accurate 'clock' time because of the skipped frame numbers, which make up for the frame duration not being an integral division of 30.
I took it f
by Andrew Kines
- Café LA
I've done tonnes of broadcast and a bunch of film. This is the first time working towards a 23.976 finish though.
Our delivery spec is for a 23.976 HD master. The broadcast HD, NTSC and PAL masters will be pulled from locked 23.976 HDCAM SR masters.
So...in FCP if I am cutting at 23.976 my sequence TC will not be an accurate representation of clock time. That, perhaps, is a better stating o
by Andrew Kines
- Café LA
We're cutting a 13 episode series, finishing in HD at 23.976. We're editing offline in FCP in sequences set at 23.976 and going to online out of house, ending up on HDCAM SR. The question I have is...
How does one accurately assess total running time in a 23.976 sequence?
Anyone have a suggested workflow for this issue? I feel like I am missing something...something simple....?
by Andrew Kines
- Café LA
> sorry.
For what?
>i tried adding markers to the multis in the timeline, and dragging back to the BROWSER as a >source.
>but when loaded in the viewer, the markers would disappear.
>when i switched angles in the viewer,
>i could see them vanish from the browser version!
Wow. I should be able to see this for myself in a bit. That seems wrong though and approaching
by Andrew Kines
- Café LA
> am i missing something?
I don't think so.
> but if i dragged that clip back to the viewer, they would disappear from the viewer version.
Dragged from the browser or the timeline?
What process do you use to make your multi-clips from the stacked and annotated sequence?
Out of curiosity, how many video/audio sources are you managing in your multi-clips?
We're doing thre
by Andrew Kines
- Café LA
Were you doing this in a timeline or on a multi loaded into the viewer?
I've noticed a few quirks with multiclips but haven't come across that one. Good to know as we were about to add transcriptions in markers. Will test first.
ak
by Andrew Kines
- Café LA
Wow, this is great.
Will any of the people who wrote this white paper be at the Apple/XDCAM HD dates in Canada, specifically Toronto, next week?
ak
by Andrew Kines
- Café LA
Get the editor the AVID/FCP book but also never underestimate the power of a well trained FCP/AVID capable assistant. A good computer savvy assistant can deal with the majority of AVID-FCP discrepancies (hello media management)and let the editor deal only with how he/she wants to map the keyboard and eventually find the things that FCP does well. I have taken an AVID editor through this process i
by Andrew Kines
- Café LA
Thanks Kevin.
I gave your article to the other editor and the assistants to read.
I was able to get the important sequences back by duplicating the project and opening a copy and deleting one folder or sequence at a time and saving after each deletion. I did this a number of times until I had 3 projects, one for sequences, one for multiclips/broll/music and one for digitized files.
It took almos
by Andrew Kines
- Café LA
The other editor of a show I am working on has a large project that won't open. File size is 350meg. It takes about 7 minutes to go through the "reading project" window at which point if we try to do anything we get any number of error messages, a beachball and then either a hang or a fast crash to the finder.
We haven't been able to copy anything out of the project or delete anything i
by Andrew Kines
- Café LA
It seems to be not so much a FCP shortcut as a variation of the OS X shortcut CMD-~ for cycling through finder windows but CMD-~ doesn't work in FCP. I have it mapped to an extra button on the multimedia keyboard at work but I rarely use it. I have grown used to the CMD-1,2,3 to get from viewer to canvas to timeline and CMD-4 to get to the browser. Not much help if you are working with the mixer
by Andrew Kines
- Café LA
Jamie
Thailand ? HDCAM SR? You, sir, are on the opposite end of the bdget spectrum from where I am. Although the weather in Toronto has been a little tropical recently.
Nevertheless, If I understand you correctly, you have video/audio on the same tape. You are capturing the HD video and audio in one pass as 23.976 native, no adding of pulldown in the deck and removing it in FCP. So far so good?
by Andrew Kines
- Café LA
I feel your pain.
We're shooting XDCAM HD 25Mbit/s, 23.976 native video and audio. 48Khz/16bit. 2 edit systems, 2 editors, 2 assistants, 2 episodes at a time. One XDCAM HD deck.
Our workflow is like so:
Caveat: This is a work in progress for 13 episodes that evolves everyday.
Video: transfer files off XDCAM disks at XDCAM HD native resolution. Recompress the video to a more manegeable DV resol
by Andrew Kines
- Café LA
Frustrating indeed!
Can't comment on all the issues but the biggest one of all has been solved for us as of this morning. The utility BWF2XML was doing inncaurate conversions of 23.976 TC for import into FCP. Andreas Kiel, who wrote the software has been a big help on tracking down the issue and has sent us a beta which addresses this issue. Big props to him for all his help.
I am testing it no
by Andrew Kines
- Café LA
The cameras can record 4 tracks per clip but we have them set to 2. One is the camera mic which, hopefully, we should never have to use other than to confirm synch and the other is the rough mixdown from the 4tracks sent wirelessly by a "Modulus". A audio unit to the A camera, B audio to B camera.
So we have 3x2 =6 camera tracks and 2x4=8 audio unit tracks.
I'll look up that merge cli
by Andrew Kines
- Café LA
I won't get into all the specifics of what's actually going on, discretion being the better part of valour and all that, not to mention public forums not being the place for that either.
That said, as we are shooting a thirteen episode season and have three in the can, I am trying very hard to work out a number of the problems before the next episode goes before the cameras. Ep 1 is, as you say
by Andrew Kines
- Café LA
>"Sequence to sequence"? Why not just put the angles as individual clips, synced up in one sequence? You only have two or three angles, right?
It wouldn't be practical when you have 20-30 scenes per episode and long takes and 3 angles and at most 14 tracks of audio. I know I could probably get used to doing it that way but it's a last resort.
We have cameras and audio starting and
by Andrew Kines
- Café LA
Hello,
Is there anyone out there cutting double system 23.976 multicam?
I am on a project shooting two or three XDCAM HD (25Mbit, 23.976) and two 744T 4trk audio recorders. The spec is for a 23.976 HDCAM SR master, so we're offlining in FCP at 23.976 and sending EDL to the online house and OMF to audio.
At least that is the plan.
The problem we're running into are numerous. Some are technical
by Andrew Kines
- Café LA
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