[Bouke Vahl]

Two things.
I don’t agree on the smaller cards.
They are slower, and (in my case) caused dropped frames.

Sandisk Pro 64 gig does not have these problems.

To offload, as well as transfer to Prores (or any other QT compatible codec, or even Avid MXF), there is still Offloader:

https://www.videotoolshed.com/product/15/offloader/2

It copies to two locations, and / or transcodes as well.

Not the fastest, but transcoding starts while you are shooting.
So by the time you get home, you are ready to edit without any time waste in the edit suite.

Bouke

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

[Bouke Vahl]

This sounds more like subtitling for the deaf.
Normal subtitles have a max of two lines, and are white with a black outline.
4:3 is normally left alligned, for NTSC font size 38.

Fonts are highly subject to taste, but in any case, use a sans-serif, condensed font.
No more than 42 chars on a line, and keep read speed good.
(Rule of thumb, read them OUT LOUD while their on. If you can’t make it, shorten the text.)

There is no way that i know to paste attributes on text generators.

And if you are going to subtitle in your timeline, you’re nuts. (unless it’s just a few titles.)

Check out Subbits from my site. It has a learning curve, but it will save you tons of time.
You can do a roundtrip with XML to get the titles from FCP and back.

BUT, there is a major bug in FCP 7.02. Line breaks on XML export are gone.
(On XML import in FCP they do work.)

Bouke

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

[Bouke Vahl]

QTchange can set the ‘current’ and ‘normal’ size.
In some cases that will do the trick just fine. (Aperture does the same but has another approach.)
Just test it, it’ll be a very fast process.

Bouke

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

[Bouke Vahl]

Not sure if the upgrade will fix it.
I had trouble with the ‘old’ routine, using the third party software (forgot the name).

However, i do know that the Ikegami’s have trouble themselves, creating corrupt clips in the camera.
Ask the shooter. The cam should have told him if things went wrong.
(i have a client using one, in the beginning 1 or 2 clips per pack were rotten.)

I strongly suggest that the cam gets an update.

On a side note, are you working in Pal or NTSC?
I’ve made a small util that creates viewing proxies with TC from the packs. Works swell in Pal, but haven’t had a chance to test it in NTSC.
If you’re lucky, perhaps a transcode to another codec using this thing could salvage a bit more. (40% is major….)

If you could share a few testclips, that would be great.
(contact me direct if you want.)

Bouke

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

[Bouke Vahl]

[Michael Paul] “what can I do?”

Export your sound with an extra second at the end.
If you go to DVD, video length will be master anyways.

Bouke

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

[Bouke Vahl]

Also, Ambient has excellent tech support.
Keep in mind that a LockIt is more than a TC device.
It also can pump out black burst. (Very important if you shoot mulitple cams.)

If all is well, the LockIt boxes have documentation. read it.
One known pitfall i know about, you have to power down / up after you change settings.

Bouke

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

[Bouke Vahl]

Using the same filenames is a path to disaster…

I see if i can find some time to change QTchange to make unique, logical filenames.

Then you can batch convert any way you like, as long as the filename stays the same.

Bouke

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

[Bouke Vahl]

This means something happened between souce and where you are now.
Are you sure you shot plain DV or DVcam, not HDV or so?

Again, what i see is badly scaled interlaced video.

Bouke

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

[Bouke Vahl]

My (highly educated) take on this:

FCP relinks on filename, tc and reelname.

If there is no TC track (thus also no reelname, as it lives in the same track), FCP relinks to files with the correct name, assuming the inpoint being x frames from the start, as it was with the originals.

If there is TC, and there is TC overlap, FCP relinks based on the TC
(if the filename matches)

If there is TC, and the filename is the same, but the TC is off, FCP relinks based on the inpoint being X frames from the start.

Now this can bite you, or this can help you.

I stronly suggest you keep filenames the same (Or you have to shop with me and i’ll take your money in exchange of FCPrelink, a program that does the renaming for you.)

To add TC to the files, you can use my QTchange application.
(free from my site, for now…)

Make sure both your proxies and your originals have the same filenames, and you’re golden.

(do test though)

warning,
DO NEVER EVER CHANGE TC ON FILES IF THEY LIVE ON A NETWORK DRIVE!

Bouke

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

[Bouke Vahl]

Poly Wave sounds like potential trouble.
If it’s sports, you probably run long times.
BWF (wave) has a 2 gig limit. If you record 4 channels @ 24 bit,
you better have a recorder that does seamless recording to new files if the 2 gig limit is reached…

So make sure this is possible, or record multiple mono files.
(then you have about 2 hours of recording time.)

Bouke

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