Alex Elkins
Forum Replies Created
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Hi Chris,
I’m not in front of FCP right now so bear with me as I’m doing this from memory. I’ll double check it all when I’m back in front of the edit suite.
Try this:
– In the timeline select the graphic and ensure the playhead marker is over the clip. Then hit ‘F’. This opens the original graphic in the Viewer monitor.
– In the timecode box on the top left of the Viewer monitor (the media duration display), change the timecode to a higher number, such as 01:00:00:00, which would make the clip an hour long.
You should now find that when you insert/overwrite/replace that graphic you’ll have a lot more room to increase the duration.This is because FCP brings in graphics with a default media duration of 2 minutes. You can override that using the process above.
All the best,
Alex ElkinsSalad Daze Films – Freshly Tossed
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Hi Jaap
As far as I know this isn’t possible. Sounds like a sensible feature request though.
Can anyone else confirm or deny whether this is possible?
All the best,
Alex ElkinsSalad Daze Films – Freshly Tossed
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Hi Randy,
I believe Clip Browser (free from Sony) will allow you to re-create the correct file structure onto an SxS card which you can then Log & Transfer into FCP without problems. I did a similar thing to this recently as some data had become corrupted or was missing even though the actual video files were clearly there. I’d give that a try before parting with any cash.
The fact that FCP doesn’t read these files natively isn’t really an Apple shortcoming – Sony does it’s best to make it difficult to use the files in anything outside of Sony Vegas. Typical Sony, and typical of third parties to find ways around it and then charge good money for the technology. I understand your frustration though, it can seem like the world is against you when things just don’t work properly.
The simple solution, of course, is to repeatedly punch the person responsible for erasing the original file structure.All the best,
Alex ElkinsSalad Daze Films – Freshly Tossed
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Hi Steven,
From what you’ve told us I can’t see any benefit to you doing the offline with FCP7. I would consider FCP7 if the files hadn’t been transcoded yet, as I would tend to choose ProRes LT or Proxy (new to FCP7) for an offline. Being that they are ready for you to start editing in FCP6 I’d just crack on and think about upgrading to FCP7 in your own time on a separate disk, as suggested above.
The added RED support in FCP7 is really just the additional codecs for offlines and the option to conform to 4K in Color. Neither of these options are what you intend to do anyway.
For the record, I upgraded to FCP7/Color 1.5 last week and haven’t had any problems reading old FCP6 or Color 1.0 project files.
All the best,
Alex ElkinsSalad Daze Films – Freshly Tossed
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Hi Ken,
Happy to help. Let me know if you need any more.
I had a look at the trailor – looks like a lot of fun to shoot!
All the best,
Alex ElkinsSalad Daze Films – Freshly Tossed
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Hi Ken,
Clipfinder is the software to do this. https://www.daun.ch/software/
You can import your XML into Clipfinder and then use the Run Conform on FCP XML tool to create a new edit referencing the _F, _H or _M proxies.
It sounds like this DVD isn’t your final delivry, so _M proxies at 1K will do the trick if you don’t need the highest quality.There is a detailed manual on the website which talks you through these steps in more detail.
Good luck,
Alex ElkinsSalad Daze Films – Freshly Tossed
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Hi Reece
How much of each size do you have? If it’s mostly 2K you might consider up-scaling the SD stuff if it’s only for a few shots – Compressor does a pretty decent job of up-scaling.
If not, I’d keep it SD. This being a showreel it’s likely to be delivered online or on DVD anyway, so having it HD isn’t a necessity.
All the best,
Alex ElkinsSalad Daze Films – Freshly Tossed
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Ken,
Send your project to Color. This will open up a project where you are working with the original R3D files. Set your project settings to 2K and then all of the zooms can be added without quality loss. From there you can begin grading your project, which would be madness not to do when you’ve gone to the trouble of shooting on the Red to begin with.
There are MANY caveats to this simplified explanation, which is why people hire online editors and colourists who have done all this before and know the pitfalls and the ways to get the best results.
Finishing your project by simply connecting to the _H or _F proxies is possible, but the results will be poor compared to a conform with R3D files.
One final recommendation is to buy Noah Kadner’s book on the Red. It covers exactly the workflow you’re using and will demystify a huge amount of the technical process (the creative process is down to the operators!). Honestly, a priceless investment.
Good luck,
Alex ElkinsSalad Daze Films – Freshly Tossed
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Hi Joe,
I know this thread is a few days old now but I thought I’d try to answer your question, as the thread seems to have been sidelined into a debate about the usefulness of the VO tool itself.
[Joe Lloyd] “My question is, is there a way to reset the VO destination track? What happens is on VO 7, after multiple takes I could be on track 65.”
The reason this is happening is that when you stop recording (perhaps to review a take or whatever) you are setting your in point for the next recording before the out point of the previously recorded VO clip. FCP automatically shifts the new audio destination onto the next track to ensure you don’t accidentally overwrite part of the previous recording. A bizarre feature in my opinion because presumably if one stops to review a clip they know exactly where the out should be and don’t need a computer to tell them otherwise, but anyway, that is what is happening!
So to combat this feature make sure you set an in point for the next recording AFTER the previous one has ended (or roll back the out of the previous clip).
All the best,
Alex ElkinsSalad Daze Films – Freshly Tossed
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Hi Steve,
1. What format was this shot?
2. What format is the Quicktime file?
3. What are your sequence settings? (framerate, codec etc)
4. Does it play correctly when you double open it in the FCP viewer, as opposed to the timeline?If you answer those questions you should find the problem as it sounds like there’s a settings mismatch somewhere along the process.
All the best,
AlexSalad Daze Films – Freshly Tossed