FCP Sequence delivered to me in wrong codec and frame rate

[David Roth weiss]

You need to demand/request the proper video that matches the framerate of what they are cutting. It’s sheer lunacy to do anything else. No job is worth doing twice, and that’s precisely where you’re headed if you undertake this job with files that are known to be the wrong framerate from the get go.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.

[Ryan Foregger]

I do mean sequence. So I need to maintain all the cut info. What do you mean by “footage?” The original footage (dailies) or the clips in the sequence. Copying the old sequence into the new sequence leaves me with the wrong frame size and hours of render. Conforming leaves me with gaps in my cut because of the time difference.

Since I’m going to be keying out clips, i want to make sure i’m not working with anything compressed or stretched.

[Ryan Foregger]

hi dave,

“Change the duplicated sequence to DVDProHD, 960×720, anamorphic (if necessary), and 23.98 fps.”

The only problem here is that you can’t change the Editing Timebase in sequence settings. Otherwise, yes, that fixes the scaling and codec issue.

[Ryan Foregger]

Doing that leaves me with lots of 1 frame gaps in the editing timeline. I’m assuming it has to do with the added pulldown to make 29.97 out of the 23.976 and a result of converting the 29.97 to 23.976.

As the project is in the middle of sound mix, there are worries about sync, etc…

[Shane Ross]

THis is a mess of the HIGHEST order. The audio mix needs to be stopped until this is fixed, and resent. And this needs to be fixed.

Those gaps will need to be closed manually. Yes, each and every single one. And the offline/creative editor is the one that needs to be doing this. They made the mess, they need to clean it up. This is what they get for not paying attention…not setting the proper sequence settings, not noticing “Hmm, why do I have a render bar over my timeline when I just add a clip?”

They need to fix this, close the gaps, resend the OMF to the audio place, then get the project back to you. Unless they want to pay you more to do this yourself. But then the audio will STILL need to be redone…no two ways about that.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
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[David Roth weiss]

[Dave LaRonde] “So apply a vigorous dope slap to the base of the client’s skull, and ask the following question:

“Who will you pay to fix this before work progresses any further? Your editor — who screwed it up in the first place — or me? Either way, you will pay.” “

Exactly why I said, “no job is worth doing twice and this one is heading in that direction.”

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.

[Arnie Schlissel]

[Ryan Foregger] “Doing that leaves me with lots of 1 frame gaps in the editing timeline. I’m assuming it has to do with the added pulldown to make 29.97 out of the 23.976 and a result of converting the 29.97 to 23.976.

As the project is in the middle of sound mix, there are worries about sync, etc…”

This is why there will always be online editors. People like me who look at this stuff and say, “You need to do this before you do anything else or your screwed. Your tape will be rejected, or your film out will look like crap and your sound will never be in sync. And by the way, it’s an hourly rate for this.”

Then the client comes back with how it’s a very important film, and they have no money. and I say that their attitude is very puzzling. If it’s that important, it should be important enough to to correctly, and they should be pretty happy to pay for the experience and expertise to do it.

Sometimes the film gets abandoned. That’s how important it is.

Arnie
Post production is not an afterthought!
https://www.arniepix.com/

[Ina Sotirova]

hi! i have accidentally been working in a 30fps timeline when my original footage is in 24 and so should be my final product. i followed your instructions but cannot seem to work out the “remove attributes” step. i am executing the command but it’s not changing the size of my clips on the new timeline (which i’ve set to apple prores 422, i.e. the codec of my original clips). am i doing something wrong? (i am using fcp7). thanks so much for the help!