[Andy Mees]

the problem with TC breaks is very likely exactly that … see if can get another camera/deck and dub the bad tape over to a new one.

regarding the corrupted project file … do you have anything in the auto-save vault that you could use?

cheers
Andy

[Andy Mees]

when you’re up and running you might also want to take a look at the products from https://www.intelligentassistance.com/FinalCutPro/ … i’ve not used them personally, but have heard lots of good things about them

cheers
Andy

[Andy Mees]

During the launch of FCP 5 there was a lot of interest amongst the pro end of the user base, specifically asking whether anything had been done with the Media Manager. Initially there were rumors that nothing had been touched in the MM code, then a few reports that some things had indeed been fixed …. and eventually, I think we all realised that indeed the former was true.

I recall reading or listening to an interview with one of the FCP product mangers on the topic, and they said that wanted feedback from the user base on specifically what we wanted MM to do ….

[Andy Mees]

i’ve not tried this one, but it is a free download and if you could slow it and smooth it, then it might do th trick

https://www.riverrockstudios.com/riverrock/pages/jitterbug.html

if you go over to https://proapptips.com you’ll find a pretty comprehensive list of the plugins avilable for fcp

hope it helps
Andy

[Andy Mees]

Hi Sean

there’s a nice tutorial over on Kenstone’s FCP webpage regarding chroma keying in FCP, but i’m thinking you’ll not learn too much new if you’ve already studied the DV Matte tutorial, still, if it helps, here’s the link

https://www.kenstone.net/fcp_homepage/chroma_key_fcp_hd_monahan.html

i do know that the big deal when shooting for chroma keying is getting the lighting right … of course that doesn’t help you now, eh?

i’m sorry i can’t be of more help

best of luck
Andy

[Andy Mees]

thanks for your post Mark

you hit the nail right on the head!

No. the offlineRT sequence was not created anamorphic.
and No. no one did consider any of this before I got involved!

however, all these comments help to prompt new ideas of how to work with what i’ve got ….

i could certainly look into converting the timeline to OfflineRT anamorphic, then, we could make the adjustments as necessary knowing that the upres will not have resizing problems

anyway, clearly theres work needed to get this offline cut ready for the upres … its just figuring out the most efficient and effective path to take

thanks again for the input
Andy

[Andy Mees]

hey Tony,

thanks so much for your reply … and for pointing out the glaring error in my post!
of course . i should have said that the final output will be 1920 x 1080 (HDCAM) not 1280 x 1080 (DVCPro HD)

and thankyou for the idea of throwing an aspect ratio converter into the loop. good thinking.

we’ll be using an Sony HDCAM deck … i’ll try and dig out some model details, see if it can do any aspect ratio conversion. if not, i’ll look into getting a converter (either repurpose one or get Sony to throw one in with the other loan equipment).

but i’m still concerned with the lack of correct dimesional relationship between the different formats in the offline cut. every which way i look at it, it means having to completely resize, reframe and retime the entire edit when we upres. i guess i was just hoping to be able to better use the work thats already gone into the offline cut. particularly regarding the motion effects on the stills.

all i can think of is to export the offlineRT dv sourced clips and the highres images, and shrink them down relative to their true dimensional relationship with the HD footage ie shrink the dv based offlineRT clips to 37.5% (of OfflineRT’s 320 x 240 ) … then when we reimport these, and use them in the offlineRT timeline, any and all resizing, framing and timing, will directly translate to the resizing that will be needed in the online cut (same again for the highres stills) and so will happen automagically in th timeline (sure, it’ll still need tweaking, but it’ll already be in the right ballpark)

thing is that we don’t have acces to the actual HD equipment needed for the upres for a few weeks yet.
and my concern is the time available … it seems like we could be using these few weeks to tackle, in advance, some of the issues of the upres.

and yet deep down i can’t help feeling i might be complicating things unnecessarily

cheers
Andy

[Andy Mees]

[Dominic] the sound has come in mixed even though I recorded seperate channels on my HVR-Z1. I used channel 1 for nat sound, 2 for interviews. I used the HVR1080 50i preset to capture the footage. “

i’m guessing that your capture preset was stereo audio … you need to change the clip settings in the log and capture window, in fcp5 its the square button to the left of the level indicators that toggles between stereo and dual mono capture.

for now, you can select all the stero clips in the browser, and chose Modify>Stero Pair (or Option-L) to split the tracks.

hope it helps
Andy

[Andy Mees]

try nudging your video down one more pixel in the offset field … sometimes the bad render can be a field/interlace issue
to get finer control hold down the cmd key when you drag the slider, or hold down the shift key for two digit precision

cheers
Andy

[Andy Mees]

sorry in advance if i’m misreading this.

it sounds like you have two issues here.
1. you’re trying to decide on a capture card … and either of the two you mention will serve you well
2. you don’t want to endlessly patch … well, if you have multiple decks, i think you’re still going to have to do some patching somewhere along the line. if you have the money to ease the pain you might look into getting yourself a patchbay

best
Andy