[Chris King]

Hi Dave,

Sure thing

System:
late 2013 27″ iMac
3.5 GHz Intel Core i7
OS X 10.9.5
24GB RAM
NVIDIA GeForce GTX 780M 4096 MB

After Effects:
CC 2014.2
13.2.0.49
multi-processing: off

The problem is that’s all but irrelevant–I’ve had this problem across many systems and every updated version of AE from CS6 to now.

That said, glad to provide any other info that might help. I have a feeling it’ll just end up being a bug that we have to deal with, but like I mentioned it’d still be great if there was some way to know how and why it happens. Also, yes the light is highlighted in both views, though the issue is visible whether it’s selected or not.

Thanks for the response.

Chris

[Chris King]

If you need to consolidate a sequence containing group clips, right click on the sequence in the bin and select “Commit Multicam Edits”. This creates a new sequence with the suffix .NoGroups.01.

Doing this transforms all group clips in your sequence into solo subclips, and makes it possible to consolidate the entire sequence without any clips being skipped.

(I know I’m three years late to this convo, but this problem stumped me recently, and I’m happy to share a solution!)

[Chris King]

That’s exactly what I was looking for, thanks Michael!

So I’ll describe what I did quickly in case anyone follows their googled troubles to this thread:

Dropped Timecode Burn-In on empty track at top of the sequence> Effect Mode> Clicked “Timecode” dropdown menu under Display 1 and changed it to “Source Clip Name”. Voila.

Awesome, thanks again.

[Chris King]

SOLVED IT!

I simply needed to create new audio tracks in the timeline manually. I.e. Since I had 7 audio tracks, I needed to create new tracks for 5-7. Otherwise it only brought in enough to fill the 4 default audio tracks that appear with every new timeline. If I had 8 channels, I’d need to have created 8 tracks or more, 9 channels, create 9 tracks or more, etc.

It seems strange that the new tracks wouldn’t be created automatically when brought each clip into the timeline, but that’s how it is. Hope this helps anyone else running into this issue!

[Chris King]

Hey guys, thought I’d follow up for everyone’s reference in the future.

Looks like Dave was right about having to convert the footage shot by shot from start to finish. However I count my lucky stars because the online house ended up doing the entire process for us…I asked the head of the facility if they had to convert every piece of footage in the show from 29.97 to 23.98 and he just said, “Yep” and sipped his coffee. Good man…

A funny coda however is that–regarding my initial question–he said we had nothing to fear about timing. Since the broadcast will eventually happen in 29.97 anyway, the timing of our cut at picture lock should be perfect, despite any frame rate conversions done to create the master. Basically, the show’s going from 29.97 to 23.98 back to 29.97. Making our original timing correct.

I didn’t have time for get more info, but thought I’d share. However this now makes me curious about delivering a show that was shot in 23.98 that will be broadcast at 29.97. I guess Shane touched on it, with the method of obtaining TRT from the network and making the 23.98 sequence match that. Still, the prospect makes me anxious ages ahead of time.

Thanks for all the feedback guys

[Chris King]

Yeah you nailed it, Shane, the network (Investigation Discovery) is prepping for international delivery when and if needed.

To your question of why edit 29.97 if we’re going to 23.98–it’s an independent doc shot over the course of several years on varying formats (of course), and the finishing editor and I (assistant editor) only came on a few weeks ago after much of the work had already been done, and all of it in 29.97 which is what most of the footage is in.

So the plan is to deliver our 29.97 sequence to the online house at which locale our cut will be conformed to 23.98 for delivery to ID. The online house said this is fine, though how that happens I’m somewhat murky on—will they have to convert the raw files individually? What then of sync/RT issues? Things I hope to understand.

So you say TRT shouldn’t be affected then if we’re cutting in 29.97 drop frame (which we are)? Good to know, though I want to understand it a little better before locking. Thanks for all your help, hopefully we smooth these wrinkles of questions out.

[Chris King]

Wow thanks Ted, that plugin looks awesome. Definitely going to remember it. Best.

[Chris King]

Solved it! Apparently doubling the scale of each photo in AE is exactly the way to do it—I was getting confused because a lot of our photos are still offline and the placeholder icon being displayed for each of them were the color bars referencing the old large photos, so doubling their sizes was making them enormous. But once relinked they shrunk to the correct size.

[Chris King]

I think I found a way around the problem, though the cause of the problem itself is still unclear.

My method until now had been once I added new media to a large bin in the project (a bin that might have several dozen subfolders) I would export an XML of the entire large bin, i.e. I’d be creating an XML for hundreds of clips that already had log notes as well as those few clips I’d just added that still needed them.

When I imported the new XML from ExceLogger, there must have been a conflict with all the clips that had existing log notes, my guess is doubling (or multiplying) them, and often not bringing in the log notes for the new ones at all.

So now I’m only exporting XMLs for the newest media, the stuff that still needs the notes, and when I import the new XMLs from ExceLogger it is working fine, log notes appearing on all the new files just fine. Keeping all the new media in a separate bin until it’s logged helps.

[Chris King]

I tried exporting only the play range, setting the in and out points in the middle of the sequence as a test, but for some reason it only read the “out” point.

I had marked off about 60 frames but the preview window showed that there were over 1,000 in queue going all the way back to frame 1. Tried realigning the in and out points, same problem, doesn’t read the “in” point at all, which obviously makes the whole process useless. I’m sure it’s fixable…

Any thoughts?