Dave Schweitzer
Forum Replies Created
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Assuming you have the latest version of Media Composer installed, here’s what I recommend.
In your 23.98 project, Link to the 59.94 clips via the Source Browser, bringing them into a bin. Select one or all of the clips and right-click to select Source Settings, then choose the Playback Rates tab. Here you can choose the Clip’s FPS of its capture rate of 59.94 for the look of reality or at the Project’s FPS of 23.976 which will give you a very smooth, very slow playback.
If you decide you want to bring these clips into your Avid MediaFiles pool, select the clips and enter the Consolidate/Transcode process. After selecting Transcode, make sure to select Keep source’s frame rate which will ingest all those frames captured during the shoot. Once transcoded this way you will still have the option of selecting either the Clip’s FPS or the Project’s FPS from the bin, giving you slomo or real-time playback. -
Okay, after some free time this morning I’ve gotten a comfortable workflow going that will allow for batch capture from tape of Log & Transferred clips from the Sony Z7U compact flash/HDV combo.
Thanks to Andy Mees’ post here on the cow I’ve got the batch list process working as follows:Make a new bin and drag offline L&T clips here (from a sequence or their original bin).
Select all and Export a Batch List.
Leave the offline L&T clips in the bin, right-click and import the Batch List into the same bin.
– I found it helpful to show the Creator column – old L&T clips have QuickTime Player, newly batch imported clips have none.
Select the newly imported clips and Control-C to Batch Capture (from Tape!)
Select the offline L&T clips and Reconnect Media to the freshly digitized QTs.So far it seems to do the trick.
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I’m in this exact same situation. It would be ideal to modify (á la Avid) some aspect of the master clip and re-capture (from tape) so that an edited sequence would come back online. When I’ve digitized from the HVR-M25 HDV deck a new clip with the same media start and end timecodes, then try to reconnect media to the new QT file, I get the standard FCP warning about tracks or clip length. It allows the reconnect but the footage at the proper timecode is not the right content, and slipping the source clip in the sequence is not turning out to be a quick remedy.
Otherwise I’m having to create, digitize and edit in all new master clips based on timecodes that aren’t accurate.
This can’t be right. -
Just make sure you fire the drives up every six months or so and do a refresh of the data so it doesn’t fade away.
A detailed article: https://www.larryjordan.biz/articles/lj_restore_hard_disk_data.html -
It may help to confirm the EXACT same font on both machines. You could uninstall the font from machine A, and copy & install the font from machine B just to rule out different font builds…
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From Bob’s do-it-yourself tutorial (and q&a below it) the idea of hooking up one of the new quad-core i7 iMacs to the SAN via ethernet is very attractive. Does this issue affect the new iMacs as well or just the new MacPros?
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How can you tell the Mojo is an academic version? Does is say that somewhere on the hardware? A label or a plate on it?
When you launch whatever software package that’s driving the Mojo it should say “student” or “academic” on the splash screen, but does the Mojo itself output a screen to the monitor that says “academic” somewhere in the output? -
Of course the QT settings you use when exporting from Streamclip will affect the size of your quicktimes.
23GB from a 4.7G DVD? Perhaps you are throwing more bits at the video than necessary.
Check the codec you’re using and/or the bitrate or quality setting. -
Driving me nuts at this very moment.
Doesn’t happen on any other installation of FCP I work on.
Where can I turn this off? -
In SoCal, I used to get my “used” BSP 30s from Edgewise Media.
They are now on the internet at Edgewise-Media dot com.cheers!
DaveS