[Aryn Leigh]

Thanks!

I’ve had some issues in the past with AVCHD files, where upon import, the timeline wouldn’t play back audio. As a result I’ve been a little nervous about importing raw files.

The major concern is that this is in regards to a long-form documentary. People have reported having major issues with playback/crashing with mixed formats when timelines get long.

Is there any performance advantages in converting everything to a uniform codec (i.e. ProRes HQ?)

Thanks again,

EL

[Aryn Leigh]

I might start a new thread for this.

You have been most helpful, thank you again!!

-AL

[Aryn Leigh]

Ah, but of course~

Yes, there is a “remove 24p pulldown” option right there in the “interpret clip” settings. That simple, huh?

Fancy! Thank you Alex :0)

I also see that there is an option to interpret the footage as progressive instead of the recorded NTSC interlaced. Since I’ll be editing on a 1080p timeline, I’m guessing that this is a good way to go. Is there an advantage to interpreting the footage as progressive in the “modify clip” options, before editing, as opposed to just rendering it out in the progressive timeline?

(All of the DV footage will eventually be onlined.)

Thank you again.

-AL

[Aryn Leigh]

Hi all,

Excellent responses, thank you all very much! I’m used to working at, (or usually “fixing” issues) at the online stage, so I’ve learned to be pretty anal at the onset.

Walter- how does 1080 look in a UHD timeline?? I’m assuming, even with a teranex upgrade, there is quality loss if viewing in UHD. And is it then still possible to do clean-looking punch-ins with the 4k footage?

Alex- Thank you for turning me on to the consolodate-transcode feature. Brilliant! I wonder how well it works when you’re conforming mixed frame rates? I’d take a wild stab that waiting to do this after broadcast picture lock would not be the best idea. :0D

Thank you guys again.

[Aryn Leigh]

Hi there-

Sorry to re-vist this. We are removing the advanced pulldown in FCP and finding that some of the clips are going offline. When I try to re-import them, Final Cut gives me the popup ” File Error: Unknown File”.

I’m worried that this Pulldown technique is corrupting some of the files, which are no longer readable in our project.

Where might this problem stem from? I found a similar thread but with no resolution:

https://discussions.apple.com/thread/2125871?tstart=0

Could some of these files be corrupted before import into FCP?

Thanks again, for your help!

-AL

[Aryn Leigh]

Thanks for this, Shane!

It does not seem possible though to retain information for a timeline that has all sorts of checker-boarded audio tracks… (Example: beginning of edit has 1 mono channel, 2 minutes in there are another two tracks put in as stereo…)

The quicktime that will be exported will still come back in as one long group of tracks, not indicating (visually) where the additional zoom audio tracks come in… correct?

-AL

[Aryn Leigh]

Here’s another question in regards to exporting a full sequence:

Often, I have multiple audio tracks, but they are not uniform across the sequence. So for the first 5 minutes, there are 3 zoom tracks, then four… some are stereo… etc. etc. I am finding that exporting as one long clip (even when I change the audio outputs to 4 in the sequence settings window) comes back through as one long 4-track clip- so I lose information with what segments have only 1,2, or 3 channels of audio.

So I am exporting the video only and placing back over the zoom clips. But because of the multiple audio takes, I can’t merge the entire clip as one to review in a bin.

Any workaround for this? Basically, all I am trying to do is log a clip in a bin with reliable timecode so that the editor can easily read through a list of markers and make their decision in the bin, not in a timeline. It’s not looking possible at this point.

Thanks again, in advance for any additional advice!

-AL

[Aryn Leigh]

Ah, yes. This is very helpful.

Exactly how do I group the clips, when there are several video clips that are synched to one long audio clip?

Thanks Shane!

[Aryn Leigh]

That’s great.

I assume it’s all just metadata that FCP is reading, and that it would do the exact same math either way. So– the original clips would not be altered then, right?

Also… In a hypothetical case where the footage would need re-digitizing, (say if it was offlined) would there be potential problems in finding the exact “A” frame? Could it significantly screw up timing in edited sequences?

Thanks!

-AL

[Aryn Leigh]

Gosh, I am a jerk. I made a mistake. The footage IS 720×480, so I do believe it was captured by FW.

So theoretically, I could just use the advanced pulldown removal (post-capture) in FCP to change back to 23.98- and then down the road, isolate those clips and upconvert via Teranex or whatever… correct?

Sorry for the mistake there…

AL