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Re: Reconnect in FCP 6... one at a time - 15 years agoAt this late date - thank you for the solution. It seems my media files have a mismatch error so turning off relative path really speeds up the relink process. Mitchby Mitch - The Bug Report Re: FCP to Avid to FCP - 17 years agoI cut on AVID Adereneline at work (Lincoln Heights - ABC/Family) and I also cut at home on FCP. Here's the workflow I use: 1] Digitize all dailies on AVID (we're shooting super 16, telecine to D5 with a DVCAM downconvert - working in a 23.98 project) 2] I export all dailies from the AVID overnight - QT files - it's a very quick process - about 300% real time 3] Export an ALE files ofby Mitch - Café LA Re: BWF File Editor - 17 years agoOkay - found the utility - SoundHack ... 1] Use BWF Splitter to create mono files from BWF Polyfile 2] Use Sebsky Tools to convert mono BWF files into mono QT files that SoundHack can read 3] Use SoundHack to change the header from 48048 to 48000 4] Rerun Sebsky tools to create audio.mov files with metadata Whew!by Mitch - Café LA Re: BWF File Editor - 17 years agoThanks guys. Andreas - odd about AvidInsider2 - when I click the link to download the Mac version, I get a text file! The windows version downloads correct though! Any thoughts how to remedy that?by Mitch - Café LA BWF File Editor - 17 years agoDoes anyone know of a utility program I can use to edit the header file in a BWF audio file? I need to change the time stamp in a BWF file from 48.048 to 48K. Thanks for any help. Mitchby Mitch - Café LA Re: Avid media to FCP - 17 years agoYes, works with FCP version 5 and AVID Meridian version 12.1.2 (OS X). We've been ingesting on AVID and then exporting QT movies of all dailies. Recompressing in FCP to DV/NTSC codec. We use Sebsky Tools and Cinema Tools to deal with time code/reel metadata conversion. And we use the AVID EDL Tool to export and import EDL's from AVID. 24 frame EDL's now work flawlessly as we move sequences bby Mitch - Café LA Re: EDL to "Auto-sync" rushes in FCP - 17 years agoI was the assistant editor on Jarhead in LA and I did all the synching of dailies. The film crew logged the film data into File Maker Pro at their film benches. I used FCP to 'pop' the BWF dailies tracks and copy and paste the time code into File Maker Pro. We then used XML-Pro to make XML files that were used for telecine and for syncing dailies on the KEM interlocked to Pro Tools. The XML fby Mitch - Café LA Re: Avid media to FCP - 17 years agoMoving EDL's back and forth between AVID and FCP is working wonderfully well - 100% frame accurate. If anyone wants to try this, email me and I send you a detailed workflow. I'm currently working on getting this to function with Automatic Duck. It would be great to move 24fps sequences back and forth and have it link up to imported media. Who wants re recapture from dozens of source tapes wheby Mitch - Café LA Re: Avid media to FCP - 17 years agoHere's how I have been moving media from AVID to FCP: I'm working on a network series - we're cutting on AVID Meridian OS X. I have FCP 4.5 HD at home. When I want to work at home I do the following: FIRST - copy the 3 AVID QuickTime Codec components from the AVID sytem to your FCP system (MAC HD->LIBRARY->QUICKTIME) 1] Export Dailies Clips from a scene bin in AVID - export as QT mediaby Mitch - Café LA Re: .omf won't synch to video - 17 years agoWow - what a saga. I would back up to step one and start over with the audio post facility - or better yet, switch audio post facilities to another one that gives you more confidence. 1] Make a new QT movie from the FCP timeline - one that they can play 2] Make a new OMF 3] Make a new AIFF Bring everything to the facility and see how it all syncs up. If they can't sync these three items, go sby Mitch - Café LA Re: 23.98 to 29.97 - 18 years agoIf you play a 23.98 sequence out through firewire, FCP does the correct 3:2 pulldown - AA BB BC CD DD. So you can record to NTSC 29.97 tape correctly. (You need a fast enough CPU - laptops and single processor G4's are not fast enough.) But if you want to export a 23.98 sequence as 29.97 QT movie, you have to either use Export Using QT Conversion or drop the 23.98 sequence into a 29.97 timelinby Mitch - Café LA Re: 23.98 to 29.97 - 18 years agoDan - you can actually put the 35 mm footage counter on a 23.98 nested timeline, copy and paste the 23.98 nest into a 29.97 sequence, drop in a 29.97 time code burn (as well as Natress standards converter) and then export. The advantage is you only have to export once. With all that said, I have not had to generate a 29.97 output for anyone in the last 3 films. All the sound editors, composersby Mitch - Café LA Re: 23.98 to 29.97 - 18 years agoYour DVCAM tapes are 29.97, not 23.98. If you capture through a capture card, they will be 23.98 on FCP. Or if you use Cinema Tools to reverse telecine, they will be 23.98. But on DVCAM tape, it is 29.97. As far as DVD Studio Pro, use the automatic setting - it will make a progressive frame DVD which will play at 24 fps in progressive scan DVD players and play as 29.97 in older DVD sets.by Mitch - Café LA Re: 23.98 to 29.97 - 18 years ago1] Create a 29.97 sequence 2] Copy and Paste the clips from the 23.98 sequence into the empty 29.97 timeline - do not drag and drop, you'll get an error message. 3] Nest all the clips in the 29.97 sequence 4] Drop the tc reader filter over the nest Keep in mind that FCP does not produce a 29.97 sequence with the correct 3:2 cadence. You'll get AA BB CC DD DD, not AA BB BC CD DD. If you want AAby Mitch - Café LA Re: FCP 24p Capture - 18 years agoThe offset audio sync is included with the FCP install disk. It's designed to correct the fact that Panasonic cameras record the audio 2 frames ahead of the video! I have found this plugin to be completely unreliable. I just resync the audio in FCP and make new sync clips. All that said, if you are seeing/hearing sync drift - that's a whole other issue. When FCP removes the extra frames - itby Mitch - Café LA Re: Timecode 23.98 & 29.97 issues - 18 years agoI've done 4 35mm feature films on FCP and each time I turned over reels to sound, we stayed 23.98. Why go 29.97? Tell your sound editors to set their pro tools session for 23.98 frame rate, 24 fps time code. Give them a 23.98 QT file with a 24 t/c burn. Mix to 23.98. 23.98 runs at the same pull down speed as 29.97 - the difference is with 23.98 you see the exact film frames and with 29.97 yoby Mitch - Café LA Re: DVCPROHD and FCP 5 - EDL Problems? - 18 years agoSpoke with Scot Barbour at Apple. This seems to be an issue in FCP 5 when capturing DVCPROHD over firewire. It sets the timebase at 60. The solution is to highlight all your source clips and modify the time base to 24. Then you have to convert the EDL from 24->30 using Cinema Tools. If you want to do any recapturing, make sure you modify the clips back to 60. This only occurs when capturby Mitch - Café LA Re: DVCPROHD and FCP 5 - EDL Problems? - 18 years agoI did a little test - modified the timecode of a clip to 00:01:00:00 - 1 minute even. Cut the whole clip in a sequence and made an EDL. Source in should read: 00:01:00:00 Source in instead reads: 00:02:30:00 We're getting a multiplication factor of2.5. I can see that double the time which is explained by counting 60 frames instead of 30, but I can't understand the additiona 1/2 time. Anby Mitch - Café LA DVCPROHD and FCP 5 - EDL Problems? - 18 years agoHey All, I'm working on a sizable studio feature. They shot on the Panasonic Varicam at 720p24. We've loaded the HD material into FCP 5.0.4 over firewire using the Panasonic 1200 deck. I'm familiar with this workflow having done this on 2 features using FCP 4.5 HD. When I try to export an EDL, the source time code numbers are way wrong. Not even close. Wrong hours, wrong minutes, wrong secby Mitch - Café LA Re: Sound Devices 744T and EBU BWF Audio - 18 years agoIt's pretty straightfoward - run the BWF files through BWF Manager and then run the mono files through Sebsky. BWF manager is a pain in the butt because you can't batch process - you have to manually select one file at a time - takes hours if you have 50 BWF files and you have to sit there and wait for each one to finish. With Sebsky, you can batch a whole bunch of files. Much nicer. If Soundby Mitch - Café LA Re: Sound Devices 744T and EBU BWF Audio - 18 years agoYou can use the FOSTEX BWF file manager to convert the polyphonic file to monophonic files and then use Sebsky Tools to turn the mono BWF files into wav files with metedata. Note that you can use polyphoinic files in FCP 5 - it sees them as individual mono files, but I don't know if Pro Tools can handle poly files - only an issue for audio post if you are going to turn over the sound to a soundby Mitch - Café LA Re: Reverse Tele-Cine Max Clip Size? - 18 years agoI'm not aware of any file size limit on reverse telecine and I've worked on clips larger than 5 gigs. Not sure what is causing this issue. Try recapturing the clip again and see what happens on the new media when you run reverse telecine on it.by Mitch - Café LA Re: audio post-production problems... - 18 years agoRich, I don't really think that using the compression filter in FCP is going to make your dialogue tracks sound that much better in a theater. You really need to lock your film and turn the audio over to a sound editor and do a complete mix. There is no two ways about it. Good luck. Mitchby Mitch - Café LA Re: EDL export timecode is bogus does not match clips - 18 years agoYou have 2 issues here: 1] Capture Now probably ignored time code breaks so that all events after a break are not accurate. Recapture the correct way - by logging. 2] After reverse telecine, FCP changes your timecode from 30 FPS to 24 FPS. Use Cinema Tools to convert a 24 FPS EDL to a 30 FPS EDL.by Mitch - Café LA Re: HD downconvert to DVCAM - 18 years ago1] FCP Capture DVCAM downconverts at 29.97 2] Use Cinema Tools to reverse telecine your media to 23.98 3] In FCP, relink to the 23.98 media 4] Edit 23.98 Your EDL's will match your 24 frame HD masters because Cinema Tools changes the NTSC 30 NDF timecode to 24 frame t/c. (Assuming that the timecode from the HD masters and the NTSC downconverts are locked together - meaning the start time on botby Mitch - Café LA Re: 90 min. project to big to burn,"HELP" - 18 years agoUse APACK to reduce the AIFF file to a much smaller size. APACK comes with DVDSP.by Mitch - Café LA Re: 24p - 18 years agoActually, if you intend on staying in DVD then you ought to edit 23.98 - you will wind up with a 24P DVD which looks a lot nicer when played on a DVD progressive player hooked up to a HD progressive monitor. And you will also be 29.97 compatible. If you edit 29.97, you lose 24P DVD capability. So, if you shoot 24P, use Cinema Tools to reverse telecine. Or use a capture card to capture 23.98 oby Mitch - Café LA Re: conforming film & seperate audio in FCP - 18 years agoRemember, the film you shot at 24 fps is actually transfered at 23.98 fps in telecine. When you digitize and reverse telecine, you have a choice in Cinema Tools - conform to 23.98 or 24 fps. I always go with 23.98. If you go that route, you need to make sure your WAV files are also pulled down or they will drift out of sync. If you conform to 24fps in Cinema Tools, then don't pull down the auby Mitch - Café LA Re: My friend is locked out of his computer !!!! PLEASE HELP ! URGENT ! - 18 years agoKinda funny - I am an experienced editor and I am working on a feature film on FCP up in Marin County. I temporarily packed up and moved out of my apartment in Los Angeles and all my system discs are in storage along with all my other wordly pocessions. What was I thinking?! I sure hope my OS doesn't give out on me.by Mitch - Café LA |
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