Chad Denning
Forum Replies Created
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Ahhh the Grass 1600… cut my live directing teeth on that thing. Not only did it possess the all powerful “quad-split” but it blew up Alderaan in “Star Wars”.
As I wrapped up the 6pm news I’d call for the fade to black as “You may fire when ready” and make “dewwwwwwwwwwwwwwwwwwwwwwwwwwwwww” sound of the Death Star.
Anywho, back to your regularly scheduled reminiscing…
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If this is a shameless plug, please forgive me, but we have a person on staff that does music clearance and placement. It still amazes me for a how little, and sometimes how much a particular song costs to use. On our placement side, we represent artists that own all of their own publishing and masters so we can turn around a song we rep incredibly fast.
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I use the pen instead of a mouse everyday. In FCP I always slip audio as yo udescribe. It’s second nature to me hit apple Z, in fact I don’t realize I did this until you said something.
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And just clarify for posterity’s sake, in case someone else is in this boat: I didn’t export using conversion. I used plain ol’ “export QT movie” and left it with sequence settings. That’s what was driving me nuts. It would export out of there as 1280×720 instead of 960×720 like all of the other footage I conformed. A big ol’ head scratcher if you ask me.
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I was exporting them because they are P2 files that needed to be synced with my DA88 tracks. There are gaps of black between some of the clips where the cameramen shut down to change batteries or whatever. I figured if they were just one clip each I could multicam them all. It’s all working now. Between the audio issues and 5 formats of media, and the wonky P2 handling, I cannot wait to rip open FCP6.
I’m in a little better frame of mind now… although I was still here at the office until 1:30 am cutting away. Thanks for your help guys. This was our first foray into DVCPRO HD. 95% of the HD we do in house is HDCAM, and we have that work flow down pretty pat.
I lurk on these boards quite a bit but never really chime in because it seems 99% of the problems are covered 2 ways to Tuesday. Thanks for the hand!
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Not a bad idea… I ended up using Compressor… more or less did the same thing. With our new Facilis Terrablock I set 3 of the 6 suites up to compress the clips while I worked on another part of the show. Now that was handy.
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I must not be ‘splaining myself clearly enough. I’m working in a DVCPROHD 720p24 timeline which is 960×720. My 3 main cams (HVX) are 720p24, hence why I set my timeline like it is. All the other formats were brought in and placed on top of my 8 tracks of DA88 audio (which is 1hr and 24 mins long)
I rendered each cam out one at a time and exported them out to a QT using “export a QT movie” I kept the settings the same as the timeline and presto a new clip that I could bring back into my timeline that was 960×720. When I went to do the exact same thing with the HVX footage it exported it as 1280×720 (even though the original clips, and the timeline show up in the “frame size” column of the browser as 960×720.)
When I go and import those clips in, they need rendered or have an orange bar. They should play like the others (they are native for heaven’s sake). The simple question now is, why does FCP export DVCPROHD at 1280×720 then not recognize it as DVCPROHD when it’s imported in. Like I said in my previous post. If I export using Compressor’s DVCPROHD setting it comes out as 960×720 and everything’s fine. So after all of that, I’m now ready to start editing.
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Well unfortunately my assist brought all of this in their native codecs… that’s why I was doing all of the hoop jumping. My big issue here is why doesn’t FCP export a clip out of a timeline that it can recognize when you bring it back in? I found a workaround using Compressor to convert my DVCPRO HD timeline to (surprise!) DVCPROHD clip that will play in my original timeline. And yes, FCP6 can’t come here soon enough. I wish I had the luxury of testing it out in one of our slow suites like Walter is but 6 is gonna get a baptism by fire on this project. It’s gonna be a long few weeks.
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Just throwing out the obvious: while Motion does do that, Shake is a much more robust toolset for that type of job. The caveat being that the learning curve is steep if you haven’t used a node based workflow before.
Monkeys is funny