Eddie Adams
Forum Replies Created
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no. which files are corrupting? for me, it was all files, so even some project files had become corrupted.
i’ve pretty much settled on using CCC to transfer EVERYTHING with checksum verification, to multiple drives for archive – only way to be sure.
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I think you can use the Canon EOS Plugin under FCP7 to “Log and Transfer” the footage off the cards into ProRes files, then import the resulting ProRes files into Adobe Premiere.
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Yes, precisely that. Plural Eyes is a good suggestion, I’ll give it a shot. Otherwise, if I can’t tell the difference by ear, then why would the client? Thanks for the tips.
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To clarify – the “stringout” is one take, a series of lines several times in the same take. That single audio file was subclipped into each actual take, breaking apart the stringout, and saved as individual files. Those individuals files have since corrupted and are no longer playable within FCP, so I’m trying to use an MP4 of the cut we still have to identify which takes were actually used from the stringout. I’m hoping that there’s a way to match the “audio fingerprints” from the MP4 to the matching sections of the stringout.
Thanks for your help.
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Yes even at 100%. Feathering may help but I’m kind of perplexed as to why this happens in the first place. They’re screen grabs from a HD video, so 1920×1080, 72 DPI. Could it be an issue with resolution?
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Hi Bill, audio sample rates were all constant at 48khz, but I’m familiar with the issue you’re mentioning. I would love to ditch FCP7 completely, but unfortunately as discussed earlier, FCPX has a serious bug which makes capturing HDV tapes difficult. For now I will simply transcode to ProRes and keep my fingers crossed – any more issues though and I’m likely jumping back to Premiere.
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Replacing all my clips with transcoded versions within the “Events” folder fixed the issue and gave me no problems with the reconnect (as long as the framerate and size matches its usually all good). Interestingly enough, I now have to slip everything BACK 15 frames to make it right again, since the ProRes fixed the issue. I would say this definitely is an issue relating to long-gop edits, so moving forward I will just transcode to ProRes before importing into FCPX.
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Actually, FCPX does not even allow you to transcode HDV footage…. wtf?
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My thought is that its probably related to the fact I’m editing HDV native without converting to ProRes. FCPX claims to handle HDV natively without the need for transcoding, but I’m suspecting this is not actually the case.
From wikipedia: “Up to 15 frames per each cut may be re-encoded because of the long-GOP nature of HDV video.”
My issue was frames slipping exactly 15 frames….
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That was my thought initially but all clips are 29.97i, same as project – there is absolutely no mixing of frame rates anywhere. The reason I don’t capture in FCPX is because the program has a known bug (which I experienced) where if a tape “rolls out” during a capture, it dumps the whole segment and you lose that capture.