[Andy Mees]

Your only realistic option for what you apparently want to do (a triptych of 3 unscaled videos) is to lay you hands on 3 projectors, then play your 3 independent videos simultaneously side by side, one from each projector … you’ll probably want 3 screens too.

Cheers
Andy

[Andy Mees]

Hey Andrew
Just trash your thumbnail cache and FCP should happily regenerate the thumbnails for you. You can check the current location of the cache in your FCP System Settings window.
Cheers
Andy

[Andy Mees]

Have a look at the ProDateDV plugin from Automatic Duck: https://www.automaticduck.com/products/pddv/

Cheers
Andy

[Andy Mees]

Hey Kim
Your exports will contain as many channels of audio as it there are audio outputs defined in the Sequence Settings > Audio Outputs tab … so if you are looking for 2 channel exports then you need to set your Audio Outputs to 2.
Hope it helps
Andy

[Andy Mees]

Hi Tamsyn

You can’t view more than 1 timeline at any given time but you can view 2 track’s within a timeline by using the Playhead Sync > Gang mode … so you can nest your 3 sequences into a single sequence as 3 separate video tracks, then use Gang sync to scrub or play through and view any 2 of the clips side by side (one in the Viewer window and one in the Canvas window).

Another alternative, for easily viewing all 3 sequences simultaneously (or indeed, for viewing potentially up to 16 sequences simultaneously) would be to export a Quicktime Reference movie for each sequence you want to compare, and then use FCP’s “Make Multiclip” feature to group and then view them in 1up, 4up, 9up or 16up display in the Viewer.

Hope it helps
Andy

[Andy Mees]

Hey Chris

If you’ve not already done so, it would be a good idea to widen your search to include Elagato’s own forums, and also to ask your question there. A quick look turned up this for me:

https://forums.elgato.com/viewtopic.php?f=89&t=6575
May not be what you’re looking for but it seems likely that if it can be done then the Elgato boys would know how.

Best
Andy

[Andy Mees]

[Wayne Carey] “Is Apple not listening? “

Lol. You got me there 🙂

[Wayne Carey] “Here’s the ONLY work around for this crap… You have to take the clips you want to Batch Capture, copy them into a new project. Export out a Batch List. Open this Batch List into Excel and delete all of the data in the Pixel Aspect column. Save as a text file. Now, import that Batch List into FCP and Batch Capture works fine and all is good again. Except that you just wasted about 15 minutes on this work around.

Maybe I should recheck this at my end before posting this, but what the heck, I guess I’ll jump in with both feet instead 😉 As noted last time, there is no need to create new projects, copy clips and mess around in Excel, all you need to do is either:

1) select the clips you need to recapture and choose Export > XML… as (use FCP XML version 2 or version 1) then reimport that XML and the new clip references generated by the XML import will be recognized by Log and Capture. It takes less than a minute to do this.

or 2) move the clips you need to reimport into a new bin in your existing project, then Export > Batch List from that bin, and then immediately Import > Batch List to bring those clips back in to the project. Again, should create Log and Capture capable offline media, and only takes a minute.

To be clear, I’m absolutely not disputing that there should be an alternative solution built in ie an option to choose between Capture and Transfer as the ingest method, I’m just suggesting that your current workflow may be way more convoluted ad time consuming than necessary.

Hope it helps
Andy

[Andy Mees]

Tom beat me to it (albeit with a unmoving meat paste variety of the answer) 🙂

[Andy Mees]

Sheesh Wayne … didn’t we go through all this about 6 months ago?
https://forums.creativecow.net/thread/8/1056927#1057224

[Andy Mees]

[Dan Brockett] “XDCAM is a long GOP format which will quickly degrade with rendering, color correction, etc. so you should just convert it to ProRes before editing. “

FWIW whether you convert it before or after editing, the quality of the result is still the same.
There is an advantage to converting your rushes before editing, that being the subsequent ease of use of an all I-frame codec versus a Long GOP codec (better performance with I-frame due to less computational complexity) … but there is also the disadvantage of the conversion time involved in pre-rendering the rushes vs post rendering only the actual footage used in the cut, plus the additional storage and bandwidth needed for the higher data rate of the target codec. Basically its swings and roundabouts.

[Dan Brockett] “This whole thing about mixed format time lines is overrated, it still pays off in the end to just convert to ProRes.
“

Sadly, nothing is ever that black and white in my experience. What may never pay off for one man’s workflow can be the perfect solution in a another’s.

Just another perspective
Andy