[Bouke Vahl]

Information that is stored in the QT is only Reel and Timecode.
(Unlike Avid that stores a shitload of info in the media file itself)

The rest lives in the FCP project.

You can make batch lists using Excel or even any other text editor.
keep those batch lists handy, as they are tab delimited text, and can be used as input for a database if you like.

The manual has some info on how to create them. But if you want to toy with them fast, download the (free) demo of my 422/file logger from my site, toy with it and export some sample batch lists.
You then should have a good idea how to convert the handwritten lists to proper FCP batch lists.
(Or use my logger to re-do them based on the tapes, it should be able to control your deck and give you a huge amount of control)

hth,

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

No idea why those files are different, but next time, use MetaCheater or QTchange (from my site) to make an ALE, import the ALE, then batch import the files.
You then have TC and Reel info, no need to modify.

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

It’s in fact easy:
https://www.videotoolshed.com/product/44/ltcgenerator/3‘>
https://www.videotoolshed.com/product/44/ltcgenerator/3

Import a QT, and you get a SMPTE LTC audio track.
Paste that in your timeline or in your QT and you’re done.

If you have a batch of clips to do, contact me and i’ll write something that will do the pasting for you.

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

I don’t see how it will make an FCP set a ‘virtual vtr’
Only thing it does is translating LTC to 422.

I’ve toyed with other boxes from Adrienne, they work fine.

But i fail to see the logic of using them for your work.
If system time works, you’re sync.

If you need a master TC generator, reading the LTC and translate it to system time can be done in software, see this:

https://www.videotoolshed.com/product/58/ltc_systime

But i have not tested it with a running Avid.
(i can imagine Avid taking over the audio input port. Just toy with it…)

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

Richard,
There are two options:

If you have audio channels to spare, record an LTC track to all the decks. Later on you can use the ‘read audio timecode’ function to get a common TC.

Next option is to have all your computers on internet time.
If you capture free run, the TOD will be the starting TC.
So if all machines are locked just before the capture, you’re golden.

Now this trick won’t work for a long period. Usally computers don’t hold their time so well. (My MacPro drifts 4 seconds over 24 hour if it runs free, and that’s when it’s doing close to nothing. Things are worse when a computer has to work, as it thinks work is more important than housekeeping.)
So if you start / stop the capture a lot, and don’t have time to sync again before the new capture, you’re in for a lot of problems.

But i’ve made a workaround for that, (for another TC related project), a small applicatoin that syncs the computer to internet time every minute.
Another application i have in stock (well, also another project, but could be altered in an hour or so) is to have one computer’s clock as master, and syncs all other computers to it over a network. (if there is no internet available)

Contact me direct if you’re interested.

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

Assuming your audio files are BWF files, you could use the helper application that comes with my AUX TC reader:
Donwload the package, you need the BWFQTmerge application:
https://www.videotoolshed.com/product/26/fcp-auxtc-reader

What it does is finding matching TC, and paste the BWF into the QT, either self contained or by ref.

Two warnings:
The video duration will be important. QT does not allow the audio to start before the video, but the other way around is no problem.

Do NOT use dual mono in combination with Poly BWF files.
If you do so, things will work, but you will NOT be able to media manage the files.
The correct way to work if you have a mix is to either remove the original sound (using my free QTchange application), or alter the BWF to match the sounddtracks. (Most of the time that means splitting the poly files into mono files)

hth,

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

I’m with Matt.
The Reel info lives in the QT, not in the project.
If FCP cannot change them, it’s either FCP or a permissions thing.
It’s easy enough to check if the operation has worked, as you have found out, the modify date of the clip changes.

To find out if it’s FCP or something else, you could run my QT change application to change / add Reelnames on clips.
Download from here (it’s free / donationware)
https://www.videotoolshed.com/product/42/qtchange

If this also does not stick, it’s definitely a permissions problem.

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

quality settings not to green?
What codec are you digitizing with?

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

The only way inside FCP i know of is to select pairs and marry them.

If you do it outside FCP, there are other options, but none of them is free.

How many clips are we talking about?

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s

[Bouke Vahl]

IRIDAS stuff can do it.
They read raw files, and have a QT exporter.
That’s all there is to it…

Bouke

https://www.videotoolshed.com/
smart tools for video pro’s