[Brad Kester]

Thanks for the extra feedback Nick. Didn’t see it before I posted my previous message. Will definitely watch out for those potential problem areas early on in the edit to gauge whether or not I should continue with the 2K clips.

BK

[Brad Kester]

Thanks for the input. Yeah, I was kind of wondering if the footage was big enough to make a difference at all. Think I’ll probably just go for it with the 2K clips. That seems like a better solution than storing a whole extra set of Proxy clips on my hard drive (because that’s what I would have to do, right?).

BK

[Brad Kester]

I was out of town over the weekend, but I finally got to try your suggestion of deleting the render files. It didn’t work, unfortunately.

I’m all ears if anyone else has an idea how to fix this.

[Brad Kester]

Correct. All video is Apple ProRes 422.

[Brad Kester]

Thanks for the reply.

I did try trashing the FCP preferences, to no avail. As far as importing video/audio, is there something specific I should be avoiding? All my audio files are from a Zoom H4N, and they are saved in a folder on my external hard drive that contains the rest of my project. Everything’s been imported by way of File > Import, and then linked to the video using Pluraleyes (the video has been properly transcoded, of course).

There were three mics used in the recording process, all of which have been linked to the corresponding video clip to make each master clip. When I bring a new master clip into the edit, I’ve been selecting the best audio track and usually deleting (sometimes deactivating) the others. For interview audio (it’s a documentary), I’ve been making the audio mono instead of stereo by first undoing the stereo link, deleting the weaker of the two audio clips, duplicating the better clip, and then stereo-ing them again, so that one track is Left channel and one track is Right channel. Would this cause any erratic behavior?

[Brad Kester]

Hi,

Did you ever figure out a solution for this?

I was just about to post my frustration with a similar issue, but I was able to resolve it on my own. After syncing and linking my audio and making a new Master clip, I opened up my project only to find that all the audio had been renamed to match it’s newly linked video clip. Initially I couldn’t reconnect because I couldn’t find a matching name from the folder containing all my raw audio. Or so I thought…

FCP actually was retaining the original name of the audio file– just not displaying on the clip name in the timeline. However, when I highlighted my audio clip from the timeline and tried to reconnect, the dialog box that opens up was showing both the OFFLINE and ONLINE files associated with the clip (in my case, the OFFLINE audio that was giving me problems, and the ONLINE video that was already connected). When I clicked the “Locate” button to search for the audio file I wanted, Final Cut thought I was searching for the video clip, and was only enabling the clip that matched that name.

So here’s the simple solution: In the reconnect dialog box that first opens up, in the upper right hand corner, you can choose ONLINE, OFFLINE, and RENDER. Mine was selected to display ONLINE and OFFLINE. All I did was deselect the Online so that only the Offline was being displayed, and that enabled me to “Locate” the audio file from the source folder.

Not sure if that would have helped your problem in 2012, or the other problem from the post in 2010– and obviously it’s too late to be much help now. But if anyone else is experiencing something similar, this is how I got it to work for me.

[Brad Kester]

Awesome. That helps a lot. Thanks so much!

[Brad Kester]

Still having this issue if anyone has any ideas. I would love to solve it.

I realize this is not the best camera to use, but it seems like I should be able to make something work. Right?

Any tips, any thoughts would be helpful.

BK

[Brad Kester]

Hi Dave, Thanks for the reply.

FRAME RATE:
The format info was checked using Final Cut (and just double checked). Is that weird for Compressor to spit out a different frame rate than the original clip? I selected the Compressor preset by choosing Apple > Formats > Quicktime > Apple ProRes 422. I did notice that the Frame Controls were turned off in the preset, so I actually ran a test, turning them back on and setting to 29.97. But I wasn’t totally sure how to adjust all the other settings. Anyhow, that test didn’t seem to solve the aspect ratio issue.

Does the frame rate have anything to do with the aspect ratio?

I also selected the standard Apple ProRes 422. Not sure why it ended up as HQ. My version of Compressor actually doesn’t even offer HQ as a preset option.

ANAMORPHIC:
Checking the anamorphic box (for the clip) in the browser did not make a difference. Selecting anamorphic in the sequence settings changes things, but then it comes out too stretched.

EASY SETUP & FRAME RATE/FRAME SIZE:
Since the Match Sequence/Clip Settings prompt has not been appearing with my ProRes clips, I checked the Easy Setup to see if I could do it that way. I noticed that the frame rate of the sequence was then locked to 23.98. Wondering if ProRes does not handle 29.97 very well.