[Andy Mees]

hi Carl

I’m not shooting or editing that particular flavor, nor am I yet playing with FCP6 so I’m not sure I can be much help other than to point out the Cow has a forum specific for XDCAM issues and the like … it shares space with the Sony CineAlta forum and you may find others who can help there. that said, stand by your beds whilst everyone else flocks in to answer our question here!
you’ll also find a very helpful knowledgebase in the dvinfo XDCAM HD CinaAlta forum

cheers
Andy

[Andy Mees]

resolved by upgrading to the latest firmware

[Andy Mees]

… for file transfer? No. The idea of the tapeless workflow revolves around the principle of shooting and then editing with the native footage. With XDCAM HD you are shooting to Sony’s MPEG HD format. The transfer software is just moving the raw media from the XDCAM disc to your media drive. There is no transcoding.

Yes, you can also capture as DV via AV/C mode, or similarly, via the HD/SD SDI / Composite outputs of the deck, if you have one, and thence to an IO card or device that will transcode to a different codec of your choosing.

Or you can batch recompress all your ingested media to a different codec using Media Manager, Compressor, or an alternative dedicated application.

[Andy Mees]

that window will only popup if the old scratch disc location can’t be found, bit of lateral tinking then …
you could always keep your scratch disc on an external disk
you could write (or have written) an FCP launch applet that checks for conected drives and unmounts them before actually lauching FCP … forcing you to (manually remount those drives and) reset the Scratch disc in FCP

seems like a sledgehammer approach to me! better to learn knew working habits.

[Andy Mees]

What format is the timeline and what format the source clips?
It may be that the earlier version of the project also had these filters applied. This happens automatically when you add for example DV clips (lower field) into an HDV (upper field) project. If you were not aware this was happenng then getting this message when upgrading such projects to fcp6 might be a surprise.

[Andy Mees]

why didn’t you just bring the original clips into your edit system by direct file transfer (in FAM mode)?

[Andy Mees]

editing with the proxies is a pain in the rear with FCP 5. despite intital promises to the contrary, Apple failed to deliver on this. I appreciate their viewpoint of “why edit proxies when we can handle the full res” but by supporting one workflow and not another they have failed to provide the choice that editors need. bummer. i’ve not tried it with FCP 6.

[Andy Mees]

Jamie,

You’re good to go with just the camera connected to the lappie. But bear in miind all the usual stuff. Don’t leave the camera connected after you’ve imported or you’ll slow down the FW 800 to FW 400.

Transfer speeds for HQ are a little slower than 2x faster than realtime only. 60 mins of hi-res will come in in around 40 mins or so. Plus, of course, it takes a little while for the proxies.

Make sure the laptop is full of RAM too, if you can.

Have fun
Andy

[Andy Mees]

It isn’t a hoilday here in Malaysia … although thats quite unusual

Anyhoo, surely its the quality of the problems not the quantity right? [grin]

[Andy Mees]

all very interesting, but as has been pointed out, earlier versions of FCP would also automatically resize higher resolution footage to fit lower resolution timelines … what it didn’t do was automatically scale up lower resolution footage to fit a higher resolution timelines. how is this being handled? does it letterbox/pillarbox or edge crop?