[Anhtu Vu]

oops talked too soon…i have no access to the original source footage so is there a way to find out from the captured files on FCP ???

[Anhtu Vu]

ahhh! why didn’t i think of that 🙂 thanks

[Anhtu Vu]

Well Wayne, unfortunately it’s not that simple, wether you use Easy set up @ 1080p23.94 or 1080i60_29.97, they both work fine.

[Anhtu Vu]

She told me she captured via log and transfer with capture preset set for AIC. The camera is a Sony HVR-v1u, so HDV codec native.

How about if i do this: move all the capture media so when i reopen the sequence, i will get a bunch of missing media, instead of reconnecting, i simply recapture from the camera. Would this work via log and capture ???

[Anhtu Vu]

The client just told me that it’s not a DSLR but a video camera, one of the lower end prosumer by Sony. Yeah, more headache !
Anyways, here’s what happen and hopefully you can suggest a solution:

-Client brought the project in Apple Intermediate
-Since i thought it was the native codec from the camera (my bad, never assume what the client tells you), i Media manage the sequence to Prores for the online.
-Client just approved the finished sequence ( title and color corrected )

Now, is there a way to reconnect and redigitize from the camera using with my new color-corrected sequence ???

If i understand you post correctly, timecode and reel is generated only during capture and since those captured media were done in Apple intermediate then i’m screwed, because the sequence is linked to the captured media and not the Original media, right ???

[Anhtu Vu]

If Media Manager retains all infos, can i just reconnect to the original files from my color corrected sequence ( this is the media manage sequence in prores) ??

[Anhtu Vu]

Boy, did they goof. They didn’t choose ProRes? Oy…
Why would this be a problem. Work in the native codec ( Apple Intermediate Codec ) and transcode to prorez for on line ( titling, color correction ) ?

If they used Log and Transfer, then there should be reel numbers. FCP adds them. If they aren’t there, then something is wrong.
Can this be because we used Media Manager to recompress the sequence to Prorez, therefore, loosing all references ???

Color is XML based, not EDL. RESOLVE is EDL based.
Sorry my bad.

[Anhtu Vu]

Well, how did they import the footage initially? Convert it?

They used ”Log and Transfer”, then just drop the clips on the timeline and started editing. The codec used was the one set up automatically by FCP when you drop your first clip on the timeline, in this case, Apple Intermediate Codec.

Personally, I don’t know how you can offline in FCP, and online somewhere else when it comes to tapeless.

Sure, using XML….when it works 🙂 but i’m starting to realize that with EDL it would be next to impossible.

Do all the clips start at 00;00:00:00? or do they have unique TC?

The timecode is there, as far as i’m aware of, since each clip has different timecode ( in/out).

I guess the main problem is, as you mentioned, without the reel or that unique id number there’s no way to track down wich clip it is, even if the timecode was present.

If the above assumtion is correct, then, why would this work when sending FCP project to Color, its import/export is also based on EDL ??

[Anhtu Vu]

Yes component works in all other apps

[Anhtu Vu]

tell me about it…very odd that they disable the component out. I’ve been on-lining on Smoke for a few months now and for some things, it’s brilliant, and others that are so odd, not user friendly, workflow killer and just plain dumb.

Anyways,thanks for the reply.