-
relinking quicktime ref
Hi,
Having some relinking problems here and I’m looking for ideas to solve
it. Here’s the situation:– I captured entire HDCam tapes to ProRes (HQ)
– made subclips and exported by ref
– used ‘FCPauxTC’ to create a timecode track from the LTC
– exported by ref again
– imported to FCPI thought I could get away with editing at ProRes (HQ) but the footage
is becoming way more than was predicted and I’m getting out of disk
space. So I transcoded everything to ProRes Proxy using Media Manager,
moved the original HQ files to external drives and put the new Proxy
files in original folders. Something went wrong with the relinking and
the clips are either offline or green.I want to avoid redoing all the export/import I’ve done until now and
would like to be able to go back to the HQ files later.The original master clips do relink, as do the subclips, though it
complained about not having the same track number. Looks like Media
Manager created and extra audio track and the proxy files have two
audio channels instead of one, as the original. I did try to open one
proxy file in QuickTime and manually delete the extra audio channel,
but it didn’t help.Any ideas?
—
Helgi Thor
Editor
Fortaleza
Brazil -
6 Replies
-
Why didn’t you just log and capture @ ProRes Proxy and avoid all that mess? the time you saved in capturing a whole tape is going to be negated by the time you spend cleaning this up.
Jeremy
-
Though we will most likely recapture for online, I wanted to have the option to finish at the system and why not cut at the best quality if you have the drive space (which I thought I had when we started)?
—
Helgi Thor
Editor
Fortaleza
Brazil -
I hear that. But logging and capturing would have saved you having to make subclips, unless you needed to for audio reasons?
If you log individual clips, then capture, you will have media that you can always match back to on tape. If you make subclips and export and reimport as ref movies, you will have a harder time of keeping track of your material, especially with FCP.
I understand wanting to cut in an online codec, but if the sapce isn’t there, capturing to ProRes proxy is a good way to do it.
For FCP, I don’t think that capturing tapes all at once is a good idea, and using reference movies to edit with becomes even more tricky.
Jeremy
-
Believe me, I know how this should´ve been done.
This is a LOW budget feature film, which was to be shot on RED, but for some reasons RED didn´t work out. The producer got a great deal on a couple of F900 HDCAM cameras, but where I am there is no HDCAM deck anywhere near, so “oh just use the camera for capture” was the answer to that, so logging was not an option. The idea is film out in the end, so we will have to recapture uncompressed at the finishing house later, but I had the feeling that it might change and we would have to finish here in FCS, so it seemed like a good idea having everything in HQ to begin with (remember I don´t have any deck to easily recapture). The idea was to shoot as it was film and drive space shouldn´t have been an issue, but HDCAM is tape and apparently it´s hard to resist the urge to shoot a lot.
The producer is a friend of mine and this is an interesting project so I´m in for the challenge and I´ll try to make the best of it.—
Helgi Thor
Editor
Fortaleza
Brazil -
OK. Now it is all making sense. Thanks for that. I understand about having to work within the limits of your available gear and using the money you have (or don’t have) to get the job done.
I still would avoid making reference movies. What you have done with the LTC is a good thing, this means that the tape TC is baked in to the files, no matter what happens. The only real question is, is the tc accurate? How do you know there aren’t tc breaks?
The only difference I would make is to export those files as self contained, and maybe when you do, those should be ProRes proxy files. The other thing to do is to take your raw captures straight to Compressor (right out of the capture scratch and don’t export out of FCP) and then make ProRes proxy files there. This will generate tc accurate clips (at least accurate to what you have captured) and reduce your file size. Moving forward, if you don’t have the room for full blown ProRes, just capture straight to proxy and treat it as an offline through and through. Save the full quality HQ for the online.
Jeremy
-
I really do hope the TC is accurate, it should be, and if not…oh well, I´m in for even more hassle later on 😉 I´m avoiding the tc breaks (which are apparently there) by making subclips before exporting to ‘FCPauxTC’.
I tested Compressor to create the ProRes Proxy files after ‘FCPauxTC’, but it messed up the timecode. I´m way more than halfway through organizing, subclipping, syncing and have already cut some scenes, so I don´t really want to change the workflow drastically.
It looks like it´ll be best to create the ProRes Proxy files from the ref files created by ‘FCPauxTC’, instead of the original whole tape master clips. Then I just have to replace the ref files from ‘FCPauxTC’ with the proxy files. I just did a test with one tape and it worked.Thanks for your attention, Jeremy, I really appreciate it.
—
Helgi Thor
Editor
Fortaleza
Brazil
Reply to this Discussion! Login or Sign Up