[Andrew Kimery]

You can try brining down the highlights like Sam suggested but you’ll only be able to recover detail if there is detail left to recover. Since so much of the frame is most likely gone (the sky, the buildings, the side walk, even the actor’s foot) there isn’t very much you can do. Bringing up the blacks and mids on the properly exposed portion of the shot will make the difference a little less drastic, but, man, the shot is in pretty poor shape.

-Andrew

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)

[Andrew Kimery]

[jon smitherton] “Mac Pro Server then.”
I think a Mac Pro Server is just a Mac Pro that comes w/OS X server. It doesn’t get any better than the 12-core machine right now.

-Andrew

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)

[Andrew Kimery]

[jon smitherton] “I know LOTS of prod co’s that would easily shell out – or of course Xserve. “

Forgive me if I am missing the dry humor, but Apple discontinued Xserve as of last month.

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)

[Andrew Kimery]

You could always do the H.264 to ProRes conversion and the manually append each filename with “-apple ProRes LT”. That wouldn’t be too bad if there weren’t very many shots. Maybe try a quick test between ProRes and ProRes LT in Color to see if one handles your grades better than the other. If there’s no discernible difference then there’s no reason to worry about transcoding.

-Andrew

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)

[Andrew Kimery]

Not so good news here.

We never could pinpoint exactly what was causing the problem and our workaround is just to copy and paste the key frames from the original timeline into the media managed timeline.

-Andrew

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)

[Andrew Kimery]

Do the names of the source H.264 clips match the names of the ProRes LT versions? If so you could transcode just the H.264 clips you need into ProRes and relink to those files. I think HQ would be way overkill in this situation.

If the names don’t match, and the editor didn’t keep a log of saying which H.264 clips correspond with which ProRes LT clips then you might be stuck converting all the H.264 clips into ProRes and rebuilding the edit by eye.

-Andrew

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)

[Andrew Kimery]

First, go to the Browser window in FCP make sure each clip has a name or number associated with it in the “Reel” column. Now when you use the Media Manager check the “delete unused media” option and only the sections of media that are in the timeline will get backed-up.

-Andrew

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)

[Andrew Kimery]

We’ve run into the same problem where I work. It was only under certain situations though and because it was isolated like that it never became an issue with us. I’ll try and dig around tomorrow at work and see if I can recover any useful info for your Danny.

-Andrew

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)

[Andrew Kimery]

Awesome. Just awesome.

-Andrew

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)

[Andrew Kimery]

[Bret Williams] “It has been my understanding that uncompressed is not a codec. Since a codec stands for compression/decompresson and the idea behind uncompressed files is that they are easier on the processor because they don’t have to be decompressed.”
Is it compression/decompression or coder/decoder? I’ve heard the etymology go either way. With that being said, I think ‘Uncompressed’ has to be a codec, in some sense of the term, because the incoming video signal has to be encoded into a file format that the software can read.

-Andrew

3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)