[Bouke Vahl]

Or mine:
https://www.videotoolshed.com/product/13/recut

But, both detect shots, not scenes.
Why not do it by hand? A normal feature has not that many scenes…

Bouke

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

[Bouke Vahl]

Tom,

What you have heard about is this:
https://www.videotoolshed.com/product/26/fcp-auxtc-reader

It can indeed decode LTC, but it also comes with a helper application
that can merge BWF with QT video.
Perhaps that’s what you are after.

Do download the demo and toy with it.

(Note that i’m the developer…)

Bouke

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

[Bouke Vahl]

For the records / archive:

24 bits gives you a dynamic range to record a needle drop as well as a jet plane take off at a very close distance,
WITHOUT CHANGING THE RECORDING LEVELS.
(assuming you have a mic that is capable of it as well)

not many people acutally would do this.

24 bits is for situations that require unattended recording,
(like recording huge amount of channels by one person), or to make sure incidental peaks aren’t overmodulated (smalling with doors etc…)

This requires of course to set the recording level way lower than normal.

Now this works all swell, and with todays storage the increased size / bandwith is not an issue anymore, but to have any improvement over 16 bits, you indeed have to record at way lower levels than normal.

This means a lot more work in post, as most of the stuff needs a huge gain, and for most output you have to do a downsample to 16 bit anyways.

In other words, for most common jobs 24 bits is overkill, but can be handy if you follow the rules. Again, if you record 24 bits, record 20 dB lower than you would do normally.

Bouke

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

[Bouke Vahl]

FCP remembers the clip attributes.
So if you had 2 channels on your originals, and now have 4,
FCP just uses the first 2

If you do a fresh import in a new project, you’ll see all the tracks.
But then you have to re-edit the stuff…

Two options:
Use QT change to delete the first 2 tracks.
(Keep in mind it works in QT TRACKS, where a track can be mono or stereo, so perhaps you have 4 channels of audio in 3 sound tracks,
if the first track is stereo!)
Donwload from here:
https://www.videotoolshed.com/product/42/qtchange

You can also change the channel order, but for that you need to applescript or have me write an application.

In all cases, run a lot of tests on copies you are willing to loose!

hth,

Bouke

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

[Bouke Vahl]

From memory, i ama the files in, then consolidate (rather than transcode)

For the tool, contact me direct, bouke at videotoolshed dot com

Bouke

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

[Bouke Vahl]

I have one client with a GFcam.
Wrote a little app to create proxy files for logging for it…
Should detect corrupt clips. You can get a copy if you like.

I’ve not found a way in Avid to extract rotten clips, but with the latest firmware on the cam there are not a lot of rotten clips anymore.
(It used to be hell in previous versions, about 1 out of 40 was corrupt)

Not sure why you would want to transcode to DNxHD, as the native files are Avid compatible, and work fine.

If you have a rotten clip, see if there is XML, and analyze that.
It’s different from the normal clips XML.
Also, check out how large the actual data is. If you got a corrupt clip, do contact me, i’d like to see it. (and see if it is salvageble)

Bouke

Bouke

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

[Bouke Vahl]

This is in your project setup.
If you change between 24 and 23.976(and do a restart of FCP!!!!),
you can see the audio start time change.

Time info in BWF is not set as absolute frame numbers, but as a count of samples.
Now there are 48000 samples in a second, but a second of pal is 25 frames, a second of 24 is 24 frames, and a second of 23.976 is, well, close to 24 frames, but there is enough difference to make your life miserable when the TC hours go up…

So, first create a project when things match as they should, marry video and audio and then start doing speed changes.
(or you have to be a math freak like me. As said, QTchange can help you changing the speed, but you need to know what you are doing!)

Bouke

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

[Bouke Vahl]

What kind of audio do you have?
If it’s Wave or BWF, it does not have a framerate.
(Although you need to define a speed to properly decode the timestamp)

For the second question, it’s probably wise to have everything at 23.976. Use Cinematools to slow down the 24 fps material, and probably you need to slow down the sound as well. (Qtchange can do this, download from my site).

hth,

Bouke

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

[Bouke Vahl]

I’ve made something that could do so, but…

The aspect ratio flag is set on each GOP.
Now my tool only sets the first flag. Good enough for some players, but perhaps not for all. (And i can’t test them all…)

There used to be a free application made by an Apple guy who could do this. On OSX it became a paid version.
Not sure what it was called nor where it lived, but i’m pretty sure you can google it.
It was part of set of tools, to set the aspect as well as merge multiple MpegII files.

But the question remains, why did you not encode them properly?

Bouke

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

[Bouke Vahl]

The Sony XDcam transfer stand alone applicaton can convert MXF to Mov on any file structure, as long as the original MXF files are there.
(well, it rewraps as QT, so FCP can work with the files)

And it is free.

What more would you want?

Bouke

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