[Dan Freshman]

Hey Kurt,

I’ve experienced many similar frustrations dealing with fcp and footage from canon dslrs. I would say that if you can open and run the project without it crashing it may be best to media manage the project with small handles, then transcode the new media files to prores with the same exact file names (different location), make offline the project files in final cut and then re-connect to the prores.

hopefully that helps if its not too late!
dan

[Dan Freshman]

Thanks for the response…It is being delivered to post on DVCPRO HD tapes..im actually hoping to get the 5d footage onto tapes via a deck at some point and then mail it that way…wasn’t sure if the added transcoding/compression would be bad for the footage to the point of it being unusable. It is for broadcast in HD and SD eventually.

[Dan Freshman]

Yes I can export to uncompressed YUV 8 bit from after effects. I will try and do that….just for my own understanding, if it is going to be rendered in hdv eventually why not do it now? Or when it is put into final cut, will something else occur?

thanks again
dan

[Dan Freshman]

thanks for the response..It is going to be put into an hdv timeline in Fcp eventually. If I am making this comp from scratch, is it still best to deliver uncompressed?

I’m on a pc without pro res codecs, what would be the best delivery codec?

thanks for the help
dan

[Dan Freshman]

I am aware that mixed frame rates and h264s caused the crash now…it didn’t make sense to me earlier ( and I still don’t understand) why the same footage didn’t cause final cut to crash on a lesser machine ( same os, same processor, less cores and ram). I guess that wasn’t clear in my earlier post. Thx for the help

[Dan Freshman]

Thanks for the response.

Ya I was dissapointed to have deliver that way. It was for the brooklyn film race, where teams create 3 minute movies in 24 hours flat..For some reason they want everything in dv, nothing in HD whatsoever…

Our workflow ended up being transcoding everything to pro res for the edit then exporting to dv at 16:9. I had talked to another editor and he had said that adding transitions/effects would be much better in pro res than if we had gone from h.264 to dv. Do you agree?

Also, I am pretty new to editing 5d markII footage..im just curious, if we could deliver in any format we wanted, does an online edit of the h2.64 ‘raw’ footage occur? Or do people generally output at pro res hq or some equivalent?

thanks again
dan

[Dan Freshman]

thanks for the response…i totally agree. We were apart of the film races, the create a movie in 24 hours flat and I don’t know if its just brooklyn, but they don’t accept any HD footage and want everything in DV.

[Dan Freshman]

I converted the footage in compressor as a batch…..One tid bit of information that seems maybe pertinent now is that I am running fcp 7 on a powerPC. Haven’t had any prolems for the last 6 months or so, some weird things, but this is the first real thing.

[Dan Freshman]

Im using fcp 7. I tried that at first and it didnt work.

[Dan Freshman]

Thanks for the reply,

I unlinked the tracks and deleted audio and still red line, and my footage is progressive so there wouldn’t be field dominance correct? Also, an option for choosing field dominance in the sequence settings is greyed out. Also, after effects interprets the footage as 23.976, would that be a cause for rendering on a 23.98 timeline, or is that what 23.98 in final cut means any way.

thanks again
dan