[Andreas Kiel]

Guy,

Here just the basics. In TitleExchange goto Preferences -> Conversion, select STL Text as input format and XML as output format.
In FCP create an empty sequence with the settings you need. Add an empty Text Generator of your choice (Boris won’t work and most of the FX Plug ones won’t as well because of the way they store the text). Do a setup for this generator and save as XML.
In TEP now load the STL file (make sure it got a .txt extension – if it’s a text based STL). The process will start and the app will askk you for template. Select the XML you created from FCP. TEP will now use this generator to create a sequence with all the subtitles using the generator you did setup earlier.
Import the resulting XML back to FCP.

Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

I already answered Frederic on mail he directly sent to me.
So just for the records.

TitleExchange allows to do this.
Create a generator in a FCP sequence with the new settings and export as XML. In TEP import that XML as template.
Then convert the subtitle XML using an XML to XML conversion.

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

Alan,

You can use the TCR Plus filter and Copy/Paste the file names (or whatever) into the filter’s parameter. That wouldn’t cost you anything than time.

Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

Playing back 2K ProRes proxies in realtime, merged with 8 audio tracks, plus 10 more audio tracks under that bogs down my system in a program that is neither multi-threaded nor addresses more than 4GB of RAM.
So use another program ?

The film was shot on the Red camera with dual-system audio, and the majority of the audio was synched manually with the clap of the slate rather than synched timecode.
No professional idea.

… there is no timecode at all
an even worse idea.

Has anyone used Cinema tools in your workflow to handle audio? Has anyone ever used it for audio change lists or conforms?
Yes. You should read the manual to figure out what CT is good for and what it does or can do.

Thanks for your input, but you didn’t answer my question.

My original post wasn’t about my system bogging down, it was asking about how to conform audio and edit with a stereo mixdown
I think at least me missed that original question.
Anyway, if you used a professional audio HDR you should have the mix down already.

Andreas

P.S.
…Please stop this.
Was no polite reply to Alan – Please stop this.

[Andreas Kiel]

Yeah, make six tracks within FCP. Due to a bug in DVDSP subtitle import you have set your sequence start TC to 0.
In TEP STL prefs select ‘Use file input Start TC’ (and ‘Match DVDSP TC’ if your timeline is drop frame). Then convert track by track. In TextEdit open all of the files and merge them. You only should take the header from the first file.

Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

I can tell you 🙂

TitleExchange as free version only converts 50 titles at a time.
You can move the titles to different tracks in FCP, convert all to STL and join them in TextEdit for import into DVDSP.

Kind regards
Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

Hi all,

I jump in too late. But it may help to understand the problem if it will happen to someone at another time.

I’m the author of sequenceLiner, so let me say some words about it.
The app assumes that you’re running TOD TC or free run TC while recording. It doesn’t matter whether you synched the cameras to each other or not – as long as you don’t shut down the camera or change batteries. A real helpful thing would be to have one common sync point/clapper for all cams at one point.
It’s a pretty easy principle – after you captured or transfered the files. Just put all clips which belong to one angle into a bin. Take external audio – if you want – in another bin.
Then create a sequence which matches your final settings and export the the project as XML.
SequenceLiner will interpret each bin as a track and lay down all clips in the according track based upon its timecode, the resulting XML will be imported into FCP.
Now in the sequence take one track as a ‘master’ and go to your sync point (or find one) and add a marker or just make a note of the frame number, do the same thing with all other tracks.
Then match the markers by moving all clips of the tracks to match the master marker. Another option is – as Jeremy did in his presentation – to write down the frame differences of the track/angles and type them into the offset settings of sequenceLiner add re-run the export. This will give you a complete in sync sequence within seconds.
From there you can either export each track as ref movie or self-contained to create a new ‘master tape’ which can be used to create a huge multiclip. You can also trim the overlaps of the clips (clip by clip) manually and create multiclips step by step using the ‘In’ option for sync.

The PluralEyes app uses a totally different approach – which by the way it is totally cool, as it handles audio delays in way I’ve never seen before. It uses audio to sync the files and automatically creates multiclips. So no TC needed at all.
The setup is pretty similar though you start with the clips in a sequence instead of bins. The advantage is that you get ready to go clips as long you got a decent good audio on each camera.

With Jeremy’s example that wouldn’t have been possible to have a ‘some kind’ common audio and so he decided to go the sequenceLiner way. In other cases it will be easier to use PluralEyes especially with no useful TC.

As Jeremy mentioned I know Bruce from Singular Software and we are working on common products.

A totally different option starts during the setup of the shooting. You may take a ALL601 for each camera. Jam sync those to each other (and the audio HDR) connect them either to the Lanc of your camera or the TC Out or the TC In (you can use any kind of TC including record run) or the Audio In.
This little box records each start stop of the camera into a file a bit similar to an ALE. When work is done you connect those boxes to your machine via USB and transfer those log files (there is one per camera, no matter how many tapes you used). Then capture/transfer your files. For each camera create create a bin as you normally would do. Then export each bin as XML.
From there use my auxApp to import both the log file and the matching bin XML. The app will compare the log file’s TOD and the cam’s source TC and write an AUX TC to the QT movies, which will automatically update in FCP. From there you can go to create multiclips based upon AUX TC.

If you used the Audio option there is a great tool from VideoToolShed to convert LTC to QT TC. This allows to sync the clips based upon LTC within FCP.
I know Bouke from VideoToolShed pretty well for quite a long time. As Jeremy said ‘one big happy family’ — something for everybody.

Finally not to forget Philip Hodgett’s Sync’n Link, which can be helpful here as well.

And not to forget the good old Lockit to sync the cams, hmm sometimes cables are enough to sync TCs of the cameras. Many options to save time in postpro.

Regards
Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

As Arnie said: NO slashes in file names EVER.

Anyway XML is a fine way to interchange sequences – if the FCP version is the same. With different versions there are some problems.
To reconnect files automatically you have to have the same file/folder structure on each of the machines.
If you don’t have you can use my free xmlReconnect which allows to modify the XML in an easy way and send this XML to FCP. In a collaborative environment were file/folder structure is constant (but different on each machine) you can save the path changes – means once set up just drag the XML to the app, FCP will open and everything is there.

Regards
Andreas

see how it works: https://www.spherico.com/filmtools/xmlReconnect/reconnect.mov
download here: https://www.spherico.com/filmtools/xmlReconnect/xmlReconnect.zip

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

I haven’t seen any problems with WAVE files (or better with BWAV) files since FCP 1.
The bigger problem is the handling of sound independent recorded from video in conjunction with subclips and multiclips – worst thing you can do is using subclips from linked AV (A from external audio) to create multiclips, this is very often unstable within FCP. One reason is that FCP doesn’t handle audio TC in a way it handles QT TC.
One option you got is to export the linked/merged clips either as reference or self-contained QT movie before starting to create multiclips. This makes things way more reliable. You also may cut audio which normally starts earlier and ends later compared to video to the duration of the video – that helps as well.
If you use audio as an individual angle in the multiclip arrangement you should export that as QT movie as well to get a QT timecode.

As you mentioned you’re working with P2 – I got a custom app which handles automatic P2 with BWAV sync, multiclip creation and creation of QT files. It is used for several soap opera productions where fast and reliable sync and multiclip handling is needed since these are daily soaps.
If you are interested contact me off list.

Regards
Andreas

Spherico
https://www.spherico.com/filmtools

[Andreas Kiel]

Hi Kerrie,

I’ll be back to the office next week and will reply.

Regards
Andreas

Spherico
https://www.spherico.com/filmtools