Darren Roark
Forum Replies Created
-
A way to avoid it is to bring in any new sequences and media via copying an event from one library to another. This checks the clips inside the transfer event against the library it’s being copied to and avoids duplicate clips.
You should be able to delete the dupe clips, worst case you can reject them so they don’t get used.
Hope that helps.
-
[Eric Santiago] “Question on the File Attribute Mismatch error.
I noticed it on a PSD file?”Layered photoshop files are tricky.
When the XML is converted from FCP 7 are all the clips online in the project?
-
[Eric Santiago] “Episodic projects that borrow from past/future episodes are a nightmare to deal with :P”
Yeah, that is always a pain!
It might be worth giving it a shot translating without the nesting. Is it only on the compound clips? Does breaking them apart fix it?
The main thing to do before exporting the FCP 7 XML is to make sure the audio is linked in the timeline. This does two things, it makes it so the audio comes in as a sync’d clip, much neater. The other thing is it helps to prevent sync slippage. (Just not with all formats, Canon/Sony footage being a big offender.)
If you send both XMLs to Greg and Philip at Intelligent Assistance I know they will get back to you and at least let you know what’s going on.
Good luck! I hope the workload becomes more manageable.
-
Do you have the FCP 7 project and is the media Canon MXF? If so let FCP X rewrap them to QT’s via the import window, relink those in FCP 7, ‘un-nest’ any nested items and try 7toX again.
Be sure to import the 7toX XML to the library with the footage you had FCP X rewrap. That will help.
Translating spanned Red and MXF files really seems to mess things up.
-
That’s correct, transferring an event from one library to another doesn’t duplicate clips and media. I call them transfer events.
-
[David Mathis] “Just read the recent article from Walter, now trying to decide whether to make the jump. “
You can’t really beat the price so why not? Worst case is you can send your timeline back to FCP X if you want.
-
[Andrew Kimery] “impressive as in ‘it runs almost as good as the dual desktop GPUs in my MP’?”
It surely doesn’t do that.
My experience working on a machine with it is I don’t miss my Dual D700s until I’m exporting or working in hugely complex effects or motion graphics. The day to day editing work is just fine, but exports take much longer.
Finding out the OP had a 7950 changed my mind. The tests I did with two of those in a cMP were faster than my Dual D700s, but not nearly enough for me to regret getting a nMP.
I read your other post, agreed that it’s a crazy time where a seven year old computer can become useful again by purchasing a card for it.
-
Glad you mentioned what card you had just in time.
There is a way to install a PSU in the optical bay, it requires customizing the case but it’s doable.
If you aren’t opposed to an expansion chassis that’s a good way to go. For dual 7950s you would lose a PCI slot without one.
Regardless, a single 7950 is still fast.
You can buy used CPUs and make it a 12c. If you are handy working on computers or know someone who is, sourcing your own CPUs can save you a lot.
-
You may want to wait. The display is amazing, you’d have Thunderbolt as well, but if you do GPU intensive work, the machine you have is still very impressive.
If you don’t have a USB 3.0 card yet that’s something that will modernize it. A natively supported card is available for $30.
There are ways to add a second 7950 which would make that a beast of a computer. Even further, you can swap the CPUs and make that machine rival the new mac pros for very little money.
-
I’m doing a 180 with the new info but you may want to try it out first if possible.
The 7950 is a very very good card that rivals the new Mac Pro GPUs though you only have one.
Is it used? If so you could take a drive and test it out first with sample timelines to see if it feels faster. Specs aren’t everything when it comes to the newer iMac models.