[Alex Robertson]

Yup, answer seems to have been to convert all footage to prores 422. From all three cameras. I didn’t see the process so I can’t leave detailed info for others to use in future, but they used freeware called ‘mpeg streamclip’ to convert all the files into prores 422.

My Z1 is now for sale. Just too fuzzy after 7ds and ex1s for so long!

[Alex Robertson]

Hi Shane, thanks for the reply.

Unfortunately it isn’t that simple a mistake..

The sequence settings are correct for 1080i xdcam. The 5d files have indeed been processed already before import (by the cameraman of that camera) and are sitting prettily in the bin and timeline.

I only have access to the mbp on which this is being edited for short amounts of time in the day, when I visit the editor/director, so I can’t check specifics right now.

The hdv footage went from tape to computer as mpeg files first (I digitised it in CS5) then when that didn’t work in fcp, I tried converting it to mov files using some freeware. Now it all reads OK in the bin of CS5, but won’t sit in the timeline without a red bar. I’m tired and frustrated!

I tried setting up apple’s compressor to change the mov files to xdcam 1080i files, but then I had to go off to another gearcheck and the editor tells me the program crashed before it finished.

I feel like I’m hacking away at these stupid files in way too complicated a process. What is the route they SHOULD have taken? I still have the tapes, so I can just start again if need be. Time is short because I have two consecutive shoots to do, and I hate leaving my director in this steaming pile of..

I’ll be able to get back to the computer tomorrow afternoon.
What is the best sequence setup?
How should I import the hdv stuff?

THANK YOU in advance!