[Bouke Vahl]

Well, i suspect you razored a mixdown or ingested long clip.
Not that i have an instant cure, but you could duplicate the source clip, give it a different reel name and overlay it on the original and make a checkerbord edit.

(my ReCut application does something likr this way reversed, to feed avid an EDL to razor a single clip without EDL manager cleaning all cuts that are match frames)

Or, apply an (any) effect checkerboarded (as Michael stated, anything to avoid the ‘=’ (match frame) indication.

Bouke

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

[Bouke Vahl]

Just look at the Avid qualified machines, i bet the z400 is on the list.
I’m still happy with a HP XW 8400.
For both (as well as an avid licence) you could shop on Ebay.
(for Avid, make sure the licence is transferrable.)

I would go for PC as i have a bit of a beef with the way Apple is behaving. They seem to be a bit more big brother than i like them to be, and they seem to want everyone to shop only at their shops.
(eg, in the latest os, you need to set a switch to enable to run applications not approaved by them. I bet in a year or two the switch won’t be there anymore, and you only can run apps controlled by Apple…)
But that is personal and probably belongs in the platforms war section…

Bouke

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

[Bouke Vahl]

For the BITC starting inside the clip, no problem.
The window will give you the option to set the current frame to the value you enter, the rest of the math will be done for you.

For good practice, you always keep timecode / reel info!
And it’s best to do so before the edit.

Now, changing the TC inside FCP should not be a problem for your edit.
You can even do it outside FCP, using QTchange.
This can be a timesaver if you have lots of clips.
If the originals have TC, you can use QTchange to save the attributes.
Move the .att files next to the BITC clips.
Then you can load the transcoded ones, and apply timecode from those files.
FCP should link to the files just fine, as it links first on frame number (relative from the start), and then on TC (but your sources don’t have TC, so FCP will ignore that on relink.
(It gets mayhem if you alter TC outside FCP and make a small shift!)

Of course, always make a backup, and test, before doing stuff like this!
(and keep a mixdown of the final show, if things go really bad, you can generate an EDL by hand (using His name in vain more than once…)

hth,

Bouke

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

[Bouke Vahl]

LTO 5 works swell for me.

Bouke

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

[Bouke Vahl]

well, standards conversion is one thing, but the majority of film to PAL (well, Pal is dead, 25fps) is done by speeding up to 25, and do some work on the sound to keep the pitch while changing the speed.
(some prefer different routines / settings for music and voice, but that’s up to you.)

This does nothing to your video, and is free. (Cinematools can do the video, sound to your liking in any package)

I do agree to work in 24 / 23.976 (whatever it is now) and do the speed up at the very last stage. Another advantage this way is that you can crank out an NTSC version with normal pulldown if needed.

Do a bit of math before the edit so you know how long the final show will be. (that’s easy math 🙂

Bouke

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

[Bouke Vahl]

No experience myself, but i’m working for a client who is doing exactly this. (of course he’s on the other side of the planet, so i’ve never seen it functioning…)

Not much of help, but a few questions. (hope to narrow down the cause of trouble)

You AMA in your clips. At that point, do you have a single long clip that you transcode to 14:1 ?

When you AMA in the originals, do the spanned clips still come up as one long clip?

Did you alter the sources? (That can be done, but the MIF file needs to be updates or Avid pukes at them.)

Can you describe the 48 minute problems.
Does that mean switching to another card? (It does not make sense otherwise…)

Bouke

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

[Bouke Vahl]

Oh, no disrespect from me!
Just, get it done in a sensible way you keep your sanity and meet your deadline.

For appending the smaller pieces, that can easilly be done in QT (I even can get you a simple app. that does this for you), or you can cat some codecs using simple command line stuff.

Great if you have little depth of field, but for a project like this 🙂

Bouke

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

[Bouke Vahl]

You’re wrong.
Just ran a test on 5.5 and it works.
However, on consolidate you might have to uncheck the ‘skip files on target disc’, if both AMA clips and target Avid Mediafiles are on the same disc.

hth,

Bouke

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

[Bouke Vahl]

Try the codec install again (uninstall first), make sure you have the right package.

This ‘should’ work.

Bouke

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

[Bouke Vahl]

afaik, there is a 2 hour sequence length limit in FCP.
Now that does not have to be a problem. You can break up the captured clip in multiple parts, and append them later on.

However, if you’re using a cheap cam like this and the price of the card is already a concern, how do you feel about a couple of days editing?
Even audio post alone makes that you need to listen to the entire part…

My advice, be prepared as good as possible and do it right in the first place. For top/tail, remember the good old days. A fade in was done with the lens, as it was expensive in post. No reason you could not do the same.
Personally i’m afraid that you make so many wrong choices during shooting (it is a close to impossible job for this duration) that there is no editing that can fix it to be convincing. So just let it happen and be happy with whatever comes out.

Bouke

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