[Craig Jackson]

Thank you Ann. However still encounter the problem. Adobe folks have been trying to figure it out with no success. Going to do a clean install of OS and see if that fixes things.

[Craig Jackson]

Thanks Shane. I have put all the video and audio clips in one sequence and would like to link 3 video clips to one audio clip. How would go about doing that?

[Craig Jackson]

Thanks Shane. It’s my first big edit and I’m learning some hard lessons here. Wondering if there’s anything I can do to clean up the project if the majority of the footage has been converted to prores in Mpeg Streamclip. L&T doesn’t work well with the 5D MKIII. Side note : does L&T create an additional copy of media in the capture scratch?

Would it be better for me to use Compressor to create all the prores files from here on in (that way they retain their original TC) or should I just continue down the rabbit hole of Mpeg Streamclip and manually reconnect the media for the online hoping that the edit points don’t change when I do connect to the 422 files.

[Craig Jackson]

Hi Shane. Thanks for your posts re: this issue. As of now I do not have ProRes 422 files. only the proxy and original h264. I was hoping to be able to make 422 files of only the clips located in the sequence containing the locked cut of the film once I have it finished. Is that possible?

[Craig Jackson]

At this point could I use pluraleyes to sync audio in an h264 timeline then reconnect the h264 clips back to the prores files. That way audio is synced and I’m editing with prores that has timecode which is exactly the same as the h264 timecode.

[Craig Jackson]

That is exactly what I did Bouke. I imported the newly time-coded prores files from qtChange in to a fresh project and then imported the corresponding h4n audio. When I went to sync the audio and proxy with pluraleyes I received the error message above. I was not aware that qtChange would be altering the clips in such a way that FCP would not be able to generate an xml.

[Craig Jackson]

I’m compressing outside FCP because Mpeg Streamclip batch compresses these files 3x faster and with more stability than any other application I’ve used. I’m not changing timecode but instead burning the prores proxy with the same exact timecode from the source h264 files. When it comes to online I will then make the prores proxy sequence (with my locked cut on it) go offline and reconnect the project to the prores 422 of those clips found in the particular locked sequence. Is that way off base?

[Craig Jackson]

wondering where the THM files end up once they are extracted from 5DIII .MOV’s I haven’t been able to locate them.

I am using qtChange 2.26 and simply loading source – selecting “Extract THM” and pressing “Do it”. I then receive the message “it seems all is done” but can’t locate the THM’s.

craig

[Craig Jackson]

Has anybody tested the the above workflow with QTChange. I have a ton of Prores Proxies that are without timecode and will cause major problems down the road. If this process works I will be overjoyed!

[Craig Jackson]

Thanks Guys. I wish I had reached out before getting started. Have imported Prores files in to FCP, changed sequence settings to 422 proxy and reconnected all media to prores files on hard drive – everything seems to look good. Although when reconnecting it did warn against time codes not matching. Will this affect me down the road when reconnecting to master media?