[David Battistella]

59.94 is 29.97.

29.97 is 59.94 divided by 2. Both are interlaced formats.

You can try to force re encode them with a custom compressor preset.

Battistella

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[David Battistella]

I can not see why such a meta data rich piece of software can not “reverse view” the data. I mean, all of the clips in used in a project? It’s a no brainer to be able to create and display that list of sources.

User should be able to sort, color code, print, etc. at some point (generally at picture lock) all of the work in the editing room becomes administrative. The software should have the administrative component, especially since it is so powerful at the ingest stage.

I’ve submitted feedback on this. I encourage other to request this from apple.

I regard it as a top priority item in a professional tool. The consolidate and bin sifting features in avid comes to mind.

Please submit.

https://www.apple.com/feedback/finalcutpro.html

Here is something close to the text I submitted

View source list.
When I have completed my edit and am doing prep for other departments, sound, picture, vfx, etc., I want to be able to see a source list (much better than the timeline index. I want to be able to generate a printable list of every piece of media in the timeline. Have it show used media with fields to sort by name, type and timecode. I should not have to go outside of FCP X to do this.

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[David Battistella]

Thanks Charlie,

I will try this. I tried another piece of software by Andreas, but it was not running correctly on mavericks.

Thanks,
Battistella

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[David Battistella]

if you had the audio on for both cameras you can create a multi cam clip and ask FCP X to sync using audio.

If both cameras happen to have matching TC, then you could ask it to sync that way.
The best thing to do would be to Load all the clips, create a multi cam clip and sync via audio.

If you do not have audio on both sources, you will have a tough time.

battistella

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[David Battistella]

There is a concept that comes from film that I still use to this day. It’s the concept of cutting in reels. It’s handy in a couple of ways.

A roll of 35mm film could hold about 22 minutes of footage so a finished film needed to be divided into reels of 22 minutes MAX.

When I am editing as soon as something gets to around 20 minutes then I create a new reel and I work within the edited reels. At the end of the process I assemble the reels for playback. If I need to edit after screening I always edit the individual reel.

Makes life very simple.

There are also practical story reasons for editing in reels because in a three act structure certain story points should be happening within certain reels. If some key events in your story have not occurred by the end of reel 2, then it pretty much means that there is a problem in your story structure.

It’s a lot less taxing for any computer to work in 20 minute chunks, even today.

Battistella

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[David Battistella]

Just one other thing to think about.

Are you running energy saver? Putting those hard drives to sleep when not in use?

I’m just throwing that out there.

Battistella

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[David Battistella]

Ouch,

Is this across all of the copies? How were the cards copied? Did they do a visual verify on set?

I’d get your rental company on this right away.

I’m sorry this happened. This is why the copies are important but so is the visual verification to catch this stuff as it is happening.

Stuff like this can even be caused by a bad cable between the reader and the computer.

Battistella

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[David Battistella]

Plus 1 for X-Wiper, great little app that makes it very easy to see exactly what you are doing.

Battistella

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[David Battistella]

Might not be a bad idea to post system details along with this post.

Battistella

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[David Battistella]

I have the 5770 upgrade in the same machine and it’s been running smooth for over a year.

David

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