[Bouke Vahl]

Or, write your own player using Flash or Director.
This way you can do tons of stuff more than just the DVD specs.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Good one. I must admit, i forgot…
(was a long time ago i used this, and that was on an other version of avid than i run nowadays…)

Trial and error it is. But a QT ref should work, is easy to make and alter…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Another option is to do a QT import.
The console command ‘ignoreQTrate = TRUE’ will give you a slomo clip, as each frame will be a frame and thus the duration is altered.
This way you don’t have any resolution trouble.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

well, i often do broadcasts of live events, and most of the time i get a feed from the PA.

I always bring my own mixer just to amplify that signal, as it is always way too low, even when i get a feed from a seperate bus dedicated for me.

No idea why, but indeed it seems SOP to set the amps up high and use the main out of the mixer for volume control. I don’t get it at all, since that involves the risk of someone making a mistake and get the entire audience deaf, let alone i believe equipment performs best when levels are at a reasonable high level, way before the equipments overloads / clips.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Could be possible to make something, but genlocking your cams should be the decent way to counteract this behaviour.
Isn’t that an option?

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

You should send me a testclip of an original and transcoded file.
If all is well, the transcoded file has the same audio and it ‘should’ work just fine! (or i will fix it…)
Now if you transcode audio to something lossy that can be a problem, and i can’t help it. But a proxy (imho) should have the HQ audio, so you don’t have to redo all the sound if you go to finishing.

If that can’t be done, Shane has the answer…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Of course there is a problem
50 Mb says 50 Mbits per second.
That is 50 / 8 = about 7 megabyte per second (including sound)
So 60 seconds times 7 MB = 420 megabyte for your output file.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Not that i know of, but that is no guarantee it does not exist 🙂
I do know that Phil and Greg had something that reminds me of this.
Better have a peek at IntelligentAssitant.com

However, it is fairly simple to make something, if the amount of FCP projects isn’t too big.

If you export each project as XML, the files can be easilly extracted and put in a database.

Unlike Avid, clips in FCP do not carry too much metadata in them.
(that can be done though, as Qt supports lots of metadata, and i suspect the tool from Phil and Greg does something like this…)

hth,

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Your problem lies elsewhere, not in the QT version.

If you export ‘same as source’, your QT’s won’t play on other machines cause that machine does not have the proper codec installed.

So render out to another codec, either from Avid, or in another dedicated transcoding application.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

There is more to it.
In this movie (a MUST SEE BTW!) timing is crucial.
Without lots of takes / good direction it is hard to get the desired timing.
Jobs remark about a push / DVE makes this easier.
If you shoot (even a still image) left and right of the original framing, or a couple of stills, you can stitch a panorama, and do your DVE / push on the composit. (Don’t forget to add lots of motion blur, ae is good for this)

Did i mention this movie is a must see?

Bouke

https://www.videotoolshed.com/
smart tools for video pros