Bouke Vahl
Forum Replies Created
-
If you have the same amount of tracks, you can paste the new sound in the video, replacing the old sound.
BWF_QT merge (can be found on my site) can do this for you.
BUT, be very, very afraid. If you make a small mistake (eg, adding more tracks), chances are your project won’t link to the originals.
So test before you commit yourself to this!There is a tool from Intelligent Assistance, called Sync and Link that should do the trick in a more safe way, and should allow for more channels.
hth,
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
I agree with Dave, and i’m pretty sure you have not succeeded on other times.
However, It does not HAVE to be ProRes.
Any I frame only codec will be fine.For QTchange, it cannot conform to another FPS, no matter the codec. What QTchange can do is set the playback FPS, not the ‘original’ FPS. (This is in the manual btw…)
(test it with an insane value)hth,
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
True, but I don’t really agree on all points.
I won’t even ask the client, just back up and add it to the bill. Otherwise, no matter how well it has been talked trough, the client will blame you if revisions seem impossible cause there is no backup.
And even if you have a signed contract, you’ll still be the bad guy.
I’m so arrogant that i refuse jobs if the client is too cheap to spend a very small part on these things. (If they are this way, it’s not a fun job anyways..)
If i do feel it’s a fun job but a cheap client, i hide the cost somewhere else 😉So you got a backup, and the client might take it elsewhere.
But the physical rights might belong to the client, the content might belong to the client, the ‘creative’ work does not always belong to the client!That’s the least of my worries.
By buying a drive, you yourself can be hold responsible for keeping the drive alive. And that WILL fail one day or another, placing you in an awkward position. To avoid this, you SHOULD hand the drive over to the client! (So if it fails, they broke it, not you…)
Of course do NOT include project files on it, just content. (And make darn good triple backups of project files yourself).This is the reason i use LTO. It’s way safer than drives, and 99% of my competitors cannot read LTO, so that guarantees clients come back to me for revisions. (Well, not entirely the truth, i don’t really have competitors, but you get the idea.)
LTO is a bit more expensive. (well, price per MB is less than a bare drive, but the backup systems cost is about 3500 USD, so you need a fair amount of tapes to get to the break even point.)
Add to that, the transfer speed is very high, and you only have to backup once (i really believe you should backup to two drives if you choose HD to back up, and that adds to the cost/time…)You do the math yourself, but never ever let clients decide what’s good for them. It always backfires.
hth,
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
oops, make that:
576 / 9 * 16 = 1024Bouke
https://www.videotoolshed.com/
smart tools for video pros -
This makes no sense at all…
If the clips are 24, it’s 24, that’s neither Pal (read 25) nor ntsc (read, 29.97)
I’m not sure how FCP interprets things (AE has user customizalbe rules for that.)
1024 x 576 is the square pixel equivalent of PAL sd widescreen
(720 x 576, the math is, 576 / 4 * 16 = 1024)But if it used to work, what has changed?
What does the timecode do? Does it run up to 23 (24 fps), 24 (25 fps) or 29 (29.97 fps, could be 24 with pulldown added) ?
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
If your originals are Avid media files, and your transcoded files are Avid Mediafiles, and both versions are reachable (currently available in the Avid MediaFiles folders),
you should be able to relink to a specific resolution or ‘any HD yadda’
You may need to do a ‘load media databases’ first, worst case you need to trash the media databases in the MXF folders.Linking to AMA can be painfull, but linking originals to transcodes and vice versa should work fine.
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
You should reverse telecine / remove pulldown your material.
You could try media manage the show, and recapture at 23.976,
then relink your sequence.Reverse telecine on the master is doable as well, but you need cuts only, and an application that is aware of cadence breaks (that you will have!)
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
CinemaTools can set the FPS of a QT.
Probably it did not reset the TC to the new FPS.If this is a problem, you could try QTchange.
Set it to 23.976, load the clip and do a ‘refresh tc track’
This will set the TC to 23.976 (aka FCP 23.98) tc.
Now, it uses the first frame to be the same,
however, the 25 fps frame 00:00:00:24 of course does not exist in 23.976!
That will be set to 00:00:01:00.I’m not sure what the implications are if you already started editing, and i don’t know what the implications are if you need to go back to the original R3D files.
It is possible to alter the original R3D TC as well, but if things go wrong, you’re in for a bag of hurt.
So, make sure you have a backup of the files before you do anything with the files, and test the entire workflow.Another suggestion is to confront your client with this problem and let them sign for you to walk free in case of potential disaster.
hth,
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Michael,
Before Sat there was a tool from me that could do this,
but Avid has it build in itself nowadays…Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Why doyou take square pixels as normal for NTSC?
(NTSC does not have square pixesls…)
If you are in HD 29.97, then you can have square pixels if the footage is 1920×1080.What are these clips you got, did you shoot them yourself?
Could it be they are in fact Pal SD clips?Bouke
https://www.videotoolshed.com/
smart tools for video pros