[Andy Mees]

[Michael Costa] ” I want an edit bay solution that lets me see this problem as easily as I saw it when jogging the tape on the Digibetacam. “

Then you’ll need to change your NLE Michael. As already stated, in FCP you cannot step through field by field.

[Andy Mees]

DV50 is a nice 8 bit 422 codec but IMX50 was a bit nicer … at least according to the eye (and the scopes) of my engineering buddys

[Andy Mees]

Hee … can I pretend that I meant to write 99 but my finger slipped? Doh! Not any more I guess.
Well caught Zane, thanks for the correction.

[Andy Mees]

Alex

Just select all the clips, then choose Modify > Make Multiclip Sequnece …
Leave all settings at default and press OK. That’ll create a Bin of multiclips and a Sequence
Open the new sequence and you should find all those source clips laid out chronologically according to their source timecode with sequence timecode to match. Magical 🙂

Best
Andy

[Andy Mees]

Did you say it’s a 6TB RAID with 60 GB free? Isn’t that just another way of saying your storage is 90% full, Tel? Probably a large part of the problem … time to do some housekeeping.

Check your FCP System Settings too, make sure your Capture / Render Scratch is pointing where it should be. How much space is left on the startup disc? Do you have any other drives attached and, if so, attached how, and how full?

[Andy Mees]

Correct, FCP does not have the option to step through field by field. Its been on the wish-list since time immemorial but please do add your voice through Apple’s feedback mechanism (seriously, the more feedback they get on something the more likely they will act on it)

https://www.apple.com/feedback/finalcutpro.html

What you can do is to set your Canvas view to 100% which allows it to display both fields simultaneously … can be helpful for spotting field based issues, but doubt it would help for what you’re seeing (or rather what you’re not seeing).

[Andy Mees]

If you have an interlaced broadcast monitor attached then you should simply be able to play back directly from the timeline and thus see very clearly any interlacing issues on your interlaced display … stepping through won’t help as it is not stepping field by field, you need to play through whilst watching the broadcast monitor, not the Canvas window

[Andy Mees]

good advice … as to the repair permissions messages
https://support.apple.com/kb/TS1448

[Andy Mees]

Hi Roi

Was responding to your same post over on the Apple Discussions board, thought I’d duplicate my suggestions here too, for reference.

If your intention is to provide the person logging this footage with full res, full quality, full duration media then I agree wholeheartedly with Walter, your best option is simply to provide them with the source media (or a copy of it) and let them get on with their job … the produced logging data will then reference the original media, so you are good to go. It’s just not productive to make you own life so very much more difficult just to try to make someone else’s life only marginally simpler.

That said, a simple option is to provide them with selects exports exactly as planned and then subsequently, when editing, you use those original selects (sequences) as virtual source clips for the edit. Drag and drop a selects sequence into the viewer to find whatever log-referenced moment your are looking for, then edit it into the timeline using the one of the edit with Sequence Contents functions (Cmd-F9, Cmd-F10 or Cmd-Drag … note: its useful to remap the Cmd-F9 and Cmd-F10 keys to F9 and F10 respectively ie without the modifier, as the normal edit Inset and Overwrite functions operate transparently with this mapping too )

Alternatively, if you are providing them with lower res, lower quality and/or cutdown selects of the original media for logging purposes then you can use the Media Manager to produce those selects proxies. The resulting clips would maintain the reel and timecode data or the originals, so that any subsequent logging data could then be used to reference either the proxies or the original media … which would give you the option of actually using the proxies for an offline edit if required (if you do that then you would need Bouke’s excellent FCPreconnect tool to replace the proxies with high res when you are ready to online).

As noted on the Apple forum, the only other option I can think of is to write (or get a script monkey to write) a script that analyses an XML or EDL export of your original selects sequence and then post-processes the logging data produced by your logging person so that it correctly refers to the original media rater than the logged selects reel.

Best
Andy

[Andy Mees]

It’s certainly possible Jason, I knocked up something similar for a company I worked for a few years ago … it was an applescript that read in (optionally) an FCP XML v1 file and a text file (in RTF format) and then spat out an FCP XML that in it’s turn generated a bin full of formatted text generators on import (one for each line of text found in the file). Worked well enough although it was never especially pretty or polished. I just dug it out and tested it (FCP7 and OS X 10.6) and surprisingly it still seems to work … if you email me off list I’d be happy to send it to you (although not sure it will help you achieve specifically what you are after especially well!)

Cheers
Andy