Ben Holmes
Forum Replies Created
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Jeremy
I have not tried a reinstall, I’ll have to give it a go tomorrow as the machine is in heavy use. I’ll report back then to see if I can narrow the problem down at all. In the meantime, I have decided to hold off upgrades on two other systems to FCP6/Kona 4.0 until I can get this sorted. Not a happy bunny. It’s just 625/25i for gawds sakes!
Get back to you tomorrow – thanks as ever for speedy and thoughtful replies.
Ben
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Just saw these replies – you are both correct. I can try the export option, however it’s not a practical solution as I am in a live enviroment and don’t have the time to do it – I’ll try it before we go on air tomorrow.
I just don’t understand how the field order got wrong in the first place. I am using the Kona PAL presets. Kona’s reponse was to suggest I try trashing prefs. I am afraid I am a few years past the first tier of tech support, so I have to now wait for the second tier to kick in – so far no response in 24 hours to my reply.
Ben
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Hi Jeremy
Yes – I have the latest version of Kona drivers – 4.0. I suspect this may be the problem, as this did not occur before the upgrade.
Let me try to explain this better. I am capturing an edit effectively – in other words it is a sequence of shots with cuts between each shot. Think of it as capturing a previously exported timeline with multiple shots in it, one which has already been laid off to tape. All I am doing is putting this edit into the timeline and cutting it back up into its individual shots. When I locate the first frame of any shot in this clip I am razor-blading it so I split the edit back up into it’s individual shots. Sometimes when I do this, I appear to be cued up BETWEEN the two shots, so the frame I am on contains one field from the incoming and outgoing shots. When I make the cut, I get a field of the other shot left behind, which I then have to remove, by shortening the shot by one frame.
I know how much help you give people on these forums Jeremy. Any help you can give me would be appreciated – I understand the field/frame setting on the Kona can be changed on the output, I have done this, and when I am on a ‘bad cut’ I see a flickering image made up of a field from each shot. I have NEVER seen this before on my systems, and it’s a real bore.
Thanks again
Ben
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Jeremy
Sorry for delay, been flat out.
[JeremyG] “How do you cut on an existing cut”
I’ve captured a sequence of shots already cut together. I am trying to seperate those back out into individual shots. Hope this makes sense – please don’t ask me to explain the workflow, it’s a bit individual. Usually when I do this, I line up the timeline on the first frame of the next shot, razor blade it and voila – I have two seperated shots I can move around the timeline.
[JeremyG] “And was this project started in FCP5? Check for a ‘shift fields’ filter on your timeline footage”
No, and there is none.
[JeremyG] “Also, if you have set up single frame viewing on your Kona card, it is quite possible that your monitor and canvas won’t match as the canvas will show only a deinterlaced version of your footage (as it can’t display interlace), and the kona will show you one of the fields. “
Originally I thought this was the issue. If I set the Kona to display the whole frame, when I am on the last frame of one shot, it shows a flickering frame made up of one field from the outgoing, and one of the incoming. Making a cut on this point leaves a flash field on the top of the newly shortened clip.
Sorry – I fear that trying to explain this is tricky, but I hope that extra info helps. I have been using Kona’s for a long time, and have never had an issue like this – it’s literally impossible to seperate two shots in a single clip cleanly. I should add that in further tests this is not happening on EVERY cut, just to complicate matters, but as I can only see the problem on my monitor, and not on the screen, it’s easy to end up with flash frames in an edit, when you remove shots from an existing clip. I also cannot slow down video smoothly, despite using the Kona capture and sequence presets unaltered. Clips drop on my timeline without requiring a render, by the way.
I notice that the menus within the capture preset have changed somewhat in FCP 6.0 – especially the advanced tab in the video section. Perhaps I have an issue with the Kona preset in PAL – This happened to me many years ago with a Voodoo card, when the manufacturer admitted there was an issue with the supplied PAL preset.
Any further help greatly appreciated.
Ben
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I run FCS 1 successfully on a Mac Mini (as previously posted). Don’t think FCS2 will be significantly different, although Color almost certainly won’t install. Note that Motion 2 did install on my Mini, even though the specs said it wouldn’t.
It’s not quick, but you can use it for the odd export or build.
Ben
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Would have been great to meet you finally, Gary – it was a flying visit (24hrs) and I had about 6 meetings in that time. At least I can put the suit away until NAB!
Ben
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If your clips all need rendering, they are all a different size/compression/frame rate from the sequence. Check the clip info, and compare it to your sequence, and you will find the difference.
Sorting this may also solve your dropped frames, otherwise it is because your external drive cannot cope with your HD clips. Without knowing what format you are working in (as opposed to the frame size) we can’t help you further, but there are few HD formats playable via FW on a MBP – HDV and DVCPrroHD (at a pinch) spring to mind. Let us know more.
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
[Michael Palmer] “I’m not sure anyone has got AVCHD into FCS2”
Not according to this:
https://manuals.info.apple.com/en/FCP6_HD_and_Broadcast_Formats.pdf
I was just researching the same thing as I was considering a Panasonic AVCHD camera for home use. Seems pretty conclusive. I guess you’ve read this? Perhaps it’s something to do with the codec that FCP6 is transcoding to?
Good luck.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
You’ll find smoke footage in the motion library. Create a black/white gradient moving underneath the smoke to make a travel matte you can use in FCP. That should replicate the effect you see in the video. Not sure I’m that fond of it, seems a bit thrown together, but I guess she doesn’t sell as many records these days…. 😉
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
Now you know what clapperboards are for! A simple handclap on camera at the start of the interview would save you a minute or two here.
Just drop the audio into the timeline in a suitable format, and then drop the video in above. Drag the video back and forward until it’s in sync. You’re done. You may only have a problem if the audio sample rates are different, which could cause the sync to drift.
Enjoy!
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html