[Claire Panke]

Thank you again Shane –
I was going a little nuts looking for an interlaced setting to use for importing, but now I realize I have to just import as DV-NTSC and then know which standards converter (60i to 24p) to use from the Nattress package I purchased years ago.

I also figured out years ago how to tell if something was shot in 24p or 24p-adv by going frame by frame to see either the 3:2 or 4:1 progressive-to-interlaced ratios (was surprisingly hard to find that information on the internet)…so I did that while looking at the current footage in question.

“Mainly this is done by eye, but also done on an external monitor…while paused, do you see both fields stutter on some shots?”
I don’t have an external monitor set up where I am at home, unfortunately. When I toggle through the footage pre-capture, I see on any movement shots that it is ALL interlaced, every frame (no stuttering seen), so I can only assume it was shot at 60i and will convert accordingly.

Thanks again for all your help. Much appreciated.

[Claire Panke]

Shane – (or anyone else!)
…replying to my earlier post….

is there a definitive way to tell if something was shot 60i or 30p (29.97)?

(bringing into FCP…sorry I am still stymied trying to know what input settings to use for FCP 7)

Is there a way that something shot on DVCam in 2004 would be 30p or was that too early? I dubbed all those tapes from dvcam to my then-current minidv format, but no I am worried if I bring all those minidv tapes in as DV-NTSC 29.97 and it was shot in 60i, I will screw up what it looks like, especially since I will need to use the Nattress standards converter to bring it into our 23.98 timeline.

There is info out there about the difference between 60i and 29.97 / 30p both of which are interlaced, but trying to determine which a tape was shot in? Not so easy to figure out.

I’m flummoxed, and so far behind the times it’s almost impossible for me to figure this out…

[Claire Panke]

Thank you Shane!

I’m still not sure about the one that appears 3:2 (progressive to interlaced) — or the consequences of bringing it in using the wrong format…i assume stuttering/weird motion would occur.
That particular tape is different than the other material that is clearly ALL interlaced (visible on a segment with motion when toggling frame by frame)…I’ll have to try it and see.

Thank you again!
Claire

[Claire Panke]

But now when it’s on remote I can’t eject the tape -used to be able to do both that from my deck and manipulate on the FCP interface.
The big problem for me is not being able to do any batch capture or capture clip.
The only option working is capture now.

Trying to figure that one out…

[Claire Panke]

changing the DECK setting to REMOTE solved this problem – I can now stop a CAPTURE NOW by hitting the ESC button.
But I still can’t get BATCH CAPTURE to work…

HELP?!

[Claire Panke]

DSR-20 deck is set to LOCAL – should it be on REMOTE?

[Claire Panke]

ADDENDUM:

While I’m in CAPTURE NOW, trying to stop the tape by hitting ESC doesn’t work. Nothing happens and I get that “boing” sound when you try to do something you can’t…

I have CAPTURE NOW set at a max of 30 mins.

So now it just keeps going until 30 mins is hit, then takes a while looking for the media end and comes up with the window that says I’ve reached the limit and my clip was digitized succesfully, and it shows up in the browser just fine….

Kind of frustrating if I have to keep changing the capture now max setting….

Something seems to be off.
I have ALREADY trashed preferences by the way.

hmmmmm

[Claire Panke]

Thank you for that reminder Nick!

You’ve been so helpful – much appreciated.

Claire

[Claire Panke]

Thank you Nick for that thorough reply – I am so appreciative.

I am a bit baffled myself as to how this became EditArmageddon, but it’s actually not quite as bad as I thought it would be to compare versions — many seem to be different versions of the same project file.
And your project files vs. autosaved point taken.

However I’m looking carefully to see what clips may have been added each time – and I will take your advice and hire an assistant editor to help with this. And yes, I am in conversation with the editor about all of this. Thank you for that reminder!

I’ll probably create one project for the editor, and if she wants to break it into sub-projects for each of our three characters, she can do that.

And thank you for letting me know it is probably safe to erase all those waveform/thumbnail/render/audio render files. I may put them all in one spot until the editor gets her mitts on the project and she can do what she wants with them.

MEDIA:
I have about 150 hours of footage, and only have about 4 hours that still needs to be digitized/logged (not just a doc, but a doc over 10 years in the making), but I’m not changing any clip names or destination paths.
Yet.

The footage is currently sprinkled over 4 500GB HD’s but I want to move it onto one 4TB HD (ahem, further YIKES = this was shot in mini-DV, but at least I shot it all progressive and am editing in a 23.98 timeline). However I have a very organized system so that will help.

And I’m going to work with a FCP-savvy person to do that so I don’t break the bones, or just let the editor handle that.
I have made a doc before so I’m aware of some of those caveats.

The editor will be researching whether she will be able to upgrade from FCP 7 or change to Premiere – I’ve read some scary stories about that – but she’d prefer to not have to work on an older computer which FCP 7 would require.

And my prior editor made about 20 sequences, so yes, I know that changes things a bit and might require a lot of reconnecting, xanax or both.
But that is where I am with this long-term, poverty-inducing “inspiring” film project!

Again, many thanks for your help. I am feeling much less overwhelmed!
Claire

[Claire Panke]

Thank you Shane for that detailed response!
Really helpful and especially valuable from a trusted source like you. You have helped me in the past during the long journey to get my film made.

MOOchas Gracias!
Claire