Aaron Neitz
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After Effects Coin
Forum Replies Created
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I believe your EULA states you can have 2 copies installed at once: one for your workstation and one your laptop.
So just make sure to uninstall those FCP seats on the rented machine when you are through.
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shift + z
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Be aware that 30p and 2997psf are two wholly separate entities. Though 30p is a very niche format: 99% of the time it’s probably just sloppy notation and the tape is actually 2997psf.
Are you telling your AJA card (Kona??) to capture 1080p30? And I assume you’re going to a compressed format ala ProRes that can work over FW800?
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look at the timecode on your video, find the same IN point on your audio, place some IN POINTS and overwrite the audio to the timeline.
OR if you don’t have matching time-of-day code on your video: find the head of the take with the smart slate. The smart slate should be running time-of-day and should be synced with the audio recorder. Again just read the number on the video and type in the matching audio timecode.
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You can absolutely edit with clips that have 14hr timecode. Time of day code is uber-common.
You can’t have a 14 hour long timeline, however
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Typically what that means is that your 24 film frames were transferred to a 29.97 fps tape with 3:2 pulldown.
Google “3:2 pulldown” then look in the Cinema Tools manual and it will tell you how to remove the “extra” frames.
In some small circles people transfer 23.98 to 29.97 tape without pulldown creating a sped up effect on capture which is simple to remove. But it’s pretty outside the norm to do that.
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G-tech Q’s are typically good drives. Personally I avoid LaCie for the same reasons as you apparently had. But all drives can fail – it could be too hot in your edit bay, or too dusty, or you got a bad batch.
How many do you have on a chain? Try splitting them up evenly. I might be wrong but I though 6 devices was MAXIMUM on firewire.
Also download an applescript to keep your drives from going to sleep while editing.
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If upmost quality concerns you, get your protools guys to resample the file at video speed. Because the slowdown is minimal there’s no need to worry about pitch shift (it’s there, but it’s virtually undetectable).
I can’t speak to Final Cut’s resolution when doing a 99.91%, I’ll rough cut that way but when I send out an OMF to ProTools their system does a fresh resampling.
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What kind of drives? Lacie? Internally raided? Western Digital? It sounds like 1) you have drives that are starting to fail or 2) drives that are going to sleep in-between edits
FW800 is plenty for XDCAM. I had a project that involved 8 FW800 drives all connected at once, DVCPRO-HD media, 4 drives per chain. It was fine.
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…. one thought. Did you Reconnect Media in your project to whatever you original stereo files were?
It’s a known problem if you import an XML which has a stereo pair of audio, and you reconnect to that file, that FCP screws up and only reads the L channel for both: Hence truly mono.