Atticus Culver-rease
Forum Replies Created
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When you say this was happening on tight telephoto shots do you mean it was only showing up when you were using a lens with a long focal length on the adapter? If so, I don’t think there’s any problem with the Letus. If the ground glass was the issue I would expect it to be shaky no matter what lens you had on. What focal length were you at when you were seeing these problems? And what sort of tripod were you using?
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I have had this problem, and it seems to be a problem with the machine you use or the import process. I was traveling with an EX3 recently using my Macbook Pro to offload and then import clips in FCP. Occasionally I would get the same blocky green/black lines you’re describing. It doesn’t seem to be a “dropout” or anything wrong with the original media on the card, because the clips would always play back fine in camera or in Clip Browser directly from the card, and when I tried transferring the same media on a different Macbook I didn’t always get the problem in the same areas. The corruption seems to be introduced by the machine or the software at some point.
At the time I experienced this, I was doing what you did and fixing it by re-importing the problem areas, which usually did the trick, although sometime it seemed like I would have to reboot first, sometimes multiple times. Since then I’ve imported a lot of media using several other machines (mostly Mac Pro towers) and never seen it again. So the issue seemed to be with the Macbook Pro, which I recently did a complete reinstall on (for various reasons, this being one of them) and haven’t had a chance to test again yet, but I’m curious to see what happens.
So the good news is that your footage is all probably fine, you just might have to jump through hoops to get it imported properly on some machines it seems.
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No, the timeline was fully rendered. The self-contained QT is a good idea to try though.
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I’ve done pretty much exactly what you are describing with the very same switcher and two EX3s, and we used the black burst out of the switcher into the Ref In on the cameras to sync them. The composite camera outputs were used for monitoring, and the SDI outs went into the switcher. Camera output was downconverted to SD, center cropped to 4:3, and the switcher output was recorded to DVCAM. I didn’t see much of the finished product but of course using the SDI will be better than composite or s-video. I’m not sure why you’d worry about using the black burst for sync, that’s what it’s there for.
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re: #3, I know that I definitely need to keep the BPAV folders, what I’m trying to find out is whether you can re-link offline clips via the BPAV structure or if FCP would only re-link to the QT-wrapped files that you imported. If I can’t re-link via the BPAVs then when it comes time to archive a project it seems like you’re basically stuck archiving twice as much media since you have to back up your original “shot tapes” (BPAVs) as well as the QT-wrapped versions of the same media in your capture scratch.