David Heidelberger
Forum Replies Created
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Doesn’t endian-ness just refer to the order bits are stored in memory? As a general rule, one doesn’t retain more information than the other, but I could be wrong about this implementation. As a very simplified description, if you had the number 256 (pretend it’s in binary), on a big endian system, it would be stored highest significant digit to lowest: “256.” But on a little endian system, it would be stored lowest significant digit to highest: “652.” It’s a little more complicated than that, but that’s the basic idea.
Endian-ness is processor-dependent. Intel-based computers (Mac or PC) used to be Little Endian, PowerPCs (G5, etc) were Big Endian. But I think for quite a while, both have been able to read both file types.
And, incidentally, I learned in my computer science class a few years ago, the big/little endian thing is a reference to Gulliver’s Travels.
– David
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Hi Shane,
I didn’t see anything in the release notes about the multicam fix. Did you read that somewhere or did you see it work on your install? That would be great news if true!
– David
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After your AE render, open the clip in Cinema Tools and conform it to 23.98 FPS. Should work fine. I think this resets some of the metadata in the clip that, for whatever reason, throws Final Cut off.
– David
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There is a keyboard shortcut to disable the audio, but it’s only for the first two audio tracks. I think by default it’s Shift-F7 for track 1 and Shift-F8 for track 2.
I have a utility on my website to strip out extra audio tracks from video clips. It won’t get you any hard drive space back, but I have to agree that it’s annoying to have to disable all those tracks individually if you wind up with too many audio tracks for some reason.
Audio Track Batcher at
https://www.davidheidelberger.com/software.html– David
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I’ve had this happen to me before (and was just able to repeat it) and I know a few others have posted here as well on the topic. I think Jeremy has it exactly right. I’d go further and say it looks like it’s a 23.98 v 24 thing. Compressor is essentially treating your footage as drop frame, which Final Cut doesn’t even support. If you get the 24 non-drop equivalent of 59:55;00, you get 59:50:12 (on my TC calculator widget, anyway), which is too close to your number for it to be a coincidence.
I just tried my old trick of using Cinema Tools on the exported clip to conform it to 23.98. Compressor recognized the timecode perfectly this time. A word of warning, though: last time I advised someone to conform to 23.98 on this message board, they said they experienced a handful of glitchy frames, so you should check your output carefully if you try that.
– David
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I’ve got a program on my website that will translate an FCP XML to Excel. It’s a little bit homemade, in that you need to have a specially prepped timeline, but it works and it’s free. Just be sure to read the documentation:
https://www.davidheidelberger.com/software.html
I think that XML2Text can also now do the same thing (although it couldn’t when I wrote the program).
– David
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This seems like it’s a Final Cut problem. Has nothing to do with networks. I’ve encountered the same problem and there’s a thread on the Apple support forums going back to September with people who are having the problem as well (although it hasn’t had any postings since early January, so not sure what to say about that). It may be helpful to give both the drives the same name, but that seems to have mixed results.
It might also be helpful to make it so that the project file has to look in relative and not absolute paths for your media. In other words, If both of the drives are exactly the same, but your project file is on another drive or else buried within your file structure somewhere, in order to connect to the media, Final Cut has to know an absolute path to the media, which includes the drive name and then any sub-folders. On the other hand, if your project file is in the root of the drive, in order to reconnect the media, Final Cut doesn’t need to know any information about the drive, it only needs to know folder names (which are presumably the same on both of your drives), and therefore doesn’t have to search as hard to reconnect. The whole problem seems to stem from some error in reconnecting media, so the less Final Cut has to search for that media when it opens the project, the better off you’ll probably be. That said, this may not be a foolproof solution either.
It seems like a serious bug and it doesn’t look like it’s been fixed. What version of Final Cut are you running? I haven’t started any multi-clip projects on 6.0.2 yet, so maybe it’s better now, but I’m not optimistic.
– David
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No problem:
https://forums.creativecow.net/readpost/8/961742
It was for clips coming out of Combustion at a different resolution, but I’d be willing to bet your problem has a similar cause and solution.
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There was a similar problem on a post a while back. Try conforming the clips to 23.98 to Cinema Tools. It worked last time.
– David
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I remapped the zoom to playhead to Cmd+ and Cmd- to serve as my main zoom since, I too, never zoom to selection. But it turns out it won’t zoom in the Canvas or Viewer (to zoom in on a waveform in the Viewer, say), which is annoying. So I mapped it back to Option +/- and I more or less never use it now since I’m so used to Shift+Cmd+A’ing before zooming, it’s more or less a reflex. This is a disappointing new feature. My two cents.
– David