[Bouke Vahl]

First, do the captured clips have correct TC on the system it was captured on?
If so, there is a version incompatibility. Print out the bins and use ‘set TC’ (or whatever it’s called) from the menu and manually enter the correct TC. (of course on the system where it does not work)
If the capture system is not displaying it, are you sure it was captured correct? (Personally i don’t think so…)
Open a clip in Qt Pro and see if there is a TC track. If there aint one, it’s for sure you have to kick some butt.

If you know the correct start TC, you can still manually add it. But are you sure there are no TC breaks?
If there are you won’t be able to re-digitize if needed. If you have captured in online quality, it does not really matter if your log lists are ‘somewhere’ near the new TC.

hth

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

Adrenaline will be killed within 5 years.
It’s already ‘old’…

Mojo will always exist in one form or another, but in it’s current shape it will also fade out withing 5 years.

As long as there are no video cards with decent SD / HD output, one needs something to watch on a monitor that is ‘comparable’ to end user sets, and in the next 10 years i dont see it happen that TV watching does not happen from the couch anymore. (well, at least not in an average household)

Tapes will NOT die in the next ten years. I had two customers bring in U-matic last months. Tape acquisition will die in 10 years, but there are still tape based camcorders sold, and they will last for 10 years, and of course will be used.

A lot of broadcast is tapeless already, but tape is still preferred as a delivery medium as it is way more fool proof than digital delivery, thus cheaper (even if it means you need a 50K VTR to play out, and the ingest at the station of course needs a 40K player…)

But it all does not matter. Buy whatever stuff you need to make money. If it does, good. If you have to throw it out after it has made you some money, also good.
Just do not buy stuff you are not sure of it has ROI. Rent that part..

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

i don’t get it.
If you export by ref, there is no way your clips are recompressed, as it’s just a pointer to the orginal files.

What kind of problems do you have then?

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

Can understand that…
But i can’t script a FCP plugin for that.

What i can do is convert all your clips while maintaining TC / reelname so your project could link to that.
(So first capture all material, then process, then finish)

Would that be an option?

Or, isn’t there a hardware card out there that enables you to remove pulldown on ingest? (Would be my option if i lived in NTSC land…)

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

[Bob Flood] “so then why do i have to know my 3:2 cadence when i need to conform a clip in cinema tools, but after effects determines the cadence for me, as well as I versus P.”

Bob,
This is a Cinema Tools shortcoming.
But what’s so wrong about having AE do it for you?
Write a simple script, and you can do it in batch.
(Or wait a few weeks, i’ll bring out an AP pulldown remover, if things work out twice as fast as AE…)

[Bob Flood] “so if apple has to patent a detector, thats OK by me. (anything to helps sort out this format BS!)”

I don’t think all the different formats are BS. They all server their own purpose. (Not that it’s quite practical, but hey, the more difficult it gets, the more reason for my job.)

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

DVD SP is not a subtitle editor, it’s an authoring tool.
For creating subititles you need something that specializes on that task only.

There are several, but there is only one that i made 🙂

Get a free demo from:

https://www.videotoolshed.com/?page=products&pID=12

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

Sounds BS to me.
An algorithm to see if video is progressive or interlaced is not new, nor the ability to detect pulldown.
(ae has it for a long, long time…)
Besides, anyone can see it with their own eyes…

And i have no idea how an algorithm could restore interlaced frames from a blended de-interlaced clip.

Now creating an easy setup for Imovie could be the reason, but for serious pro work this totally makes no sense.

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

For normal media, you have the ‘find bin’ command.
This does not work for titles, but normally i forget about them in a bin. Only titles in a sequence are important, and you can copy / paste them, and alter them from the timeline.
So, let them hide where they want, just do not care about them.

If you need to clean up your media drives, use the media tool.

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

Not without any tricks, but you can export a couple of times, and use QT PRO to put the extra tracks in the QT.

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

There ‘should’ be no difference, but MXF in a QT wrapper may be of help to the encoder.
No matter how the encoding station needs the Avid codecs.

QT ref can have problems if path names fail.
But if you export a self contained QT with the exact same codec there is no transcode, so it will be fast (same time as consolidate) and no quality loss.
Would be my option.

Do toy / test with RGB / 709 settings, some funky stuff can happen there.

Bouke

http://www.videoToolShed.com
smart tools for video pro’s