[Bouke Vahl]

and there is this:
https://www.videotoolshed.com/product/15/offloader/3
(yeah, self promotion.)

For your workflow, (besides the offloading, it can also do a straight transcode) it’s basically a QT export, but it retains timecode.
(even if they are from the THM files)
You can set it up to use multiple exports at the same time, to max out the processor capacity as far as you want.
And, the windows version is free!

Now for other transcoders (you might want to look as Avanti if you have a couple of spare hours), that do not retain timecode:

QTchange to the rescue. As you know it can write TC for cams that write THM files (mind you, the 60D does that as well, but they are buried inside the QT!),
but you can also use QTchange to save the TC attributes.
These are small (text) files containing the original tc / reel info.
If you let those files travel with the transcoded files (just copy them in your output folder), you can then use QTchange to (batch) add the TC to the new files.

hth,

Bouke

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

[Bouke Vahl]

Mickey,
Contact me direct and i’ll set you up with a newer version.

Bouke

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

[Bouke Vahl]

I disagree with Shane.
If you rip to a 422 codec (eg Prores) it should look as good as the original.
If you recompress to DVD and have a good encoder, it should be very hard to tell the original from the new one.

IOW, i suspect you took a wrong codec to rip to.

Bouke

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

[Bouke Vahl]

This is a simple wipe, where the edge of the wipe is exactly on the right side of the door.
Now you need to keyframe it, as the door does not open in a very lineair way.
In AE you would create a mask, where only the slighly diagonal line of the right side of the door is imporant.
Keyframe it (frame by frame if you must) to let it stick to the edge of the door and you’re done.

Bouke

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

[Bouke Vahl]

Yes and no.
FCP relinks based on file name. If that matches, it uses timecode to find the actual point. If that fails, it uses relative start from the beginning.

So yes, it can be done if you media manage to clips to digitize, and have FCP ingest it as it wants it to be.

Now with HDV this is a nightmare, since the preroll will kill you.
(unless you have a very decent deck.)
Recapture entire tapes and relink will fail, you need to point at several clips (but if the originals were all long ingests the amount might not be that bad)

An alternative is my FCP relink application (there is a newer one here in beta you might need if the original fails.)

In any case, download the demo from my site just for the manual.
There is the entire story on how FCP does its relinking.)

Bouke

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

[Bouke Vahl]

Not sure what happens, but be afraid of GoPro and AMA relink after a transcode.
Sometimes you have an ‘off by one’ error, and you won’t be able to relink to the AMA clips (got the T-shirt, and it was not pretty…)
Why do you need to relink back so badly? DNxHD is a good enough codec, and your cams don’t seem to be that high-end.
I would suggest finding another route to go to ‘the other’ software, at least for the problematic clips.

Bouke

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

[Bouke Vahl]

in SD, all codecs are UPPER, except DV, that is lower.
Except Avid DV, that is upper. (good choice back then to be able to mix codecs, but a bit confusing)

Bouke

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

[Bouke Vahl]

What i’m missing in this thread is the TC on DSLR and other ‘cheap’ cams (read, without a proper TC input)

Already is mentioned you can put LTC on an audio track of a multitrack sound recorder.

The same goes of course for DSLRs.

A lot of people (well, mainly in Germany, France and the Netherlands) use LTC to sync DSLR.
If you got a proper BWF recorder, just take the LTC out and put it onto the cam (with a scratch audio track as a backup)
Avid can read this, and for other NLE’s i’ve developed a util to read the LTC and convert it to QT timecode or BWF timestamps (depending on the input files of course)

Now even if you don’t have a BWF recorder with timecode, you can use a cheap Mp3 player as TC generator, or Jumpstart (an Iphone / pod) app that generates timecode.
Feed that to both the cam and a free channel of your sound recorder, and syncing is no problem whatsoever.

The clapperboard mentioned is nowadays more than just a clap / slate.
It’s in fact a TC generator / reader that displays the TC, so even if the TC feed fails (bad transmitters, rotten cable, whatever), you just have to type in the numbers to be sync.

Pluraleyes can do wonders in panic situations, but there are a lot of situations where it won’t work, or be dog slow. Do not rely on it to perform miracles.

Bouke

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

[Bouke Vahl]

Use the Sony XDcam transfer plugin and export to XDcam.
Highest quality setting is 50 Mbits / sec, so that should give you a file just under 10 gig.
And its a fast export, and quality is concidered broadcast quality over here.
If YouTube does not accept the MXF, you can easilly re-wrap it to QT using the same xdcam transfer tool.

Or use Compressor to go to anything you like, but the render time will be significant more. (But if your internet connection is slow that will pay of in the end…)

Bouke

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

[Bouke Vahl]

Ben,
Extract the good sound, and link it to any dummy (slug) video at 1440.
Then multiclip, don’t switch to slug.

Should do the trick.

Bouke

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