Grant Strac
Forum Replies Created
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Yes every single folder is there and the media, everything was copied over. I confidently know I have all the files needed its just when I open the project file it loads video into the viewer but timeline information is missing, reconnect will not work even though media is there it’s greyed out, and when I go in browser it says “no final cut events on drive” even though they are. Bottom line it opens but all the meta data is missing
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I hate to ask this because I hate when people don’t answer my question when I post but why do you want to change from 23. 976 to 24 fps? It seems redundant to me (no disrespect in any form) to convert for that minute of a change. The 23.976 is actually the truest 24 fps. For example 29,97 frames is actually the true 30 fps because in your project over time the math evens out to 30fps. This works the same for 23.976 this mathematically will work to being 24fps but either is drop or non drop. When you are making it 24fps you are just making the file non drop. All of your editing programs will work with what you have.
Again I mean no disrespect to your workflow but I can’t see any advantage to spending the time to do that. I could be wrong and you have a particular workflow that requires this but you are now using what would be considered 24fps. They are both a variation of each other. 23.976 is actually the more accurate because it does not loose that frame to make it round 24.
I would love to know more about you work flow to require you to make this modification.
I would tell you to always make it 100% of the source. Again it’s redundant to make this step if you where to export the final product and bring it into other programs it would read it as 24fps and the time base calculations would correspond with both. If you calculate 23.976 over let’s say 2 minutes and 24fps over that time it would value out the same product. 24 is just round so every 24frames becomes a round second and the 23.976 (I am not going to be exact on my math here this is just a example) at the first second would be 23.976 frames would make a second and by second three the frames would be a round 24 because the front two seconds that where 23.976 the difference between them would add on to the 3rd second to make it round. Just like 29.97 frames and 30fps are the same thing.
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Hey,
Yes I have had many problems similar to what you are having. In my experience I have found that my system was being taxed out and this is why glitches are happening. I am sure you will know most of my following advice but to cover all bases I will lay them all out. First you should never do anything on your system while your machine is exporting an MOV from final cut. My system has 22gb of ram and when I do export this way I still don’t let it do anything but focus on that. Next I would shut down completely, not restart it does not fully close out the machine. I found after editing for hour I would not have issues but four hours or more sometimes this happened. Close out all programs but what you are using.
If the problem persists I would like to offer a work flow change. After having problems like this I now never export self contained mov for final print of previews. I always export from final cut timeline to compressor and set my settings there. I have not used self contained export in years because it does not dedicate ram and processor usage directly to that task. Compressor does dedicate a certain amount of system functions to the encoding task and will not waver unless you seriously tax out the machine like do motion graphics while it is encoding with compressor. If I am under a time crunch and need to encode quickly I do export in FInal Cut but deselect the “self contained” and then import this non-self contained file into compressor. Self contained means that all the footage and information is embedded into the video and non self contained basically makes the timeline one flattened product. It is only a reference file for final cut to your project file locations.
Sorry for the addition information if it bothers you I am certified trainer so I like to cover all bases.
In you problem after trying to calm your system down if the export from final cut still gives glitches I will say with 97% confidence that if you export using compressor this problem will disappear. If it still happens then your problem is with your original media but this sounds like that is not the case but it’s always good to find that file where it glitches on and reveal in finder to preview using quicktime just to be sure. When these problems arise I always suggest to look at all avenues just to be sure.
Compressor is a POWERFUL program and with all of FCS’s roundtripping abilities it’s best to go ahead and use the corresponding program with the tasks you need to finish. Also using compressor will most likely yield quicker encodes than doing it from Final Cut.
I hope this helps
Grant Strac
Apple Master Pro Certified FSC2
Apple Trainer Certified FCP6
Apple FCS Optimization Certified -
Alexander, I deeply apologize for my long delay. I had a motion graphic commercial I was contracted for and it had very short delivery turn around. I was locked in a room for couple days.
My other machines are much less powerful. My macbook pro has 4gb of Ram, dual core 2.66 mhz, 256mb video card. My iMac is much older it’s the last enervation of the white casing right before it went aluminum. Still a kickass machine 3gb ram, 128mb video card (I think), Dual core intel. So it works on less powerful machines just takes longer.
The limiter in encoding time is Ram, defiantly when I got my MacPro and had 8 gb of ram when I encoded my DSLR footage in a 1 minute commercial it took quite some time. Now with 22gb it is ridiculous how fast it is. I always suggest if have iMac or MacPro to go max on Ram because in all the suites programs it is very helpful to operation and cheap depending on generation.
I could not comment on the cinema craft because I only use the Apple Suite programs to complete my tasks just because that’s what I was taught in my master pro course. I’ve never had a problem with GOP in replication. I worked at TV studio for five years two of them I never changed GOP the final three I did and never had a spit back. The only time DVDSP has given me replication problems is if I changed any of the Region settings which was weird. I was told that’s because the replication machines are set to make all and automatically spit back anything other than all regions.
I hope that I was able to help with your original problem.
Grant Strac
Apple Master Pro Certified Final Cut Studio 2
Apple Trainer Certified Final Cut Pro 6
Apple Final Cut Studio Optimization Certification -
Well we both are here to help Alex. We obviously have our difference of opinions. I could say I disagree and offer reasons why and you could do the same as we have been but this doesn’t help the forum users. For our personal delivery needs obviously it works for you and I. I appreciate your insight but I’m not here to talk outside of what the needs of the original poster are. I thank you for your opinions it made me analyze my stream of thought.
Grant Strac
Apple Master Pro Certified Final Cut Studio 2
Apple Trainer Certified FInal Cut Pro 6
Apple Final Cut Optimization Certified -
I’m not exactly sure but 99% of the time the minimum specs are exactly that if you don’t have it problems will happen. in all my experiences with that kind stuff its always been you have to have what they say otherwise it won’t work because theres a reason they say minimum requirements
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Hm well I don’t know how to help exactly but can offer suggestions. One thing I would suggest is never film in two qualities. Its like filming a project in 30fps and half in 24fps. I would put money on FCS not being able to capture both properly. Try capturing only the one type. Save quit and then capture the rest. If this doesn’t work then drop capture all together and just use compressor to compress everything. Compressor is more direct and will most likely not cause that problem in theory. Sorry I can’t help much but I would go direct to canon’s support because they have a forum and I’ll put money on someone having this problem posting a issue. Hope your problem gets solved
Grant Strac
Apple Master Pro Certified Final Cut Studio 2
Apple Trainer Certified Final Cut 6
Apple Level One Apple Final Cut 7
Apple Final Cut Optimization Certified -
Well I can only say use Motion. Right click the file in timeline and send to motion file. Add the primatte rt or the chroma key filter and set to screen color and automatically it is amazing what it does. Motion is INSANELY good at keying. Always use Motion because it is powerful in bold. The automatic filter presets will pull the key almost 90% and tweak them slightly. Than lastly drop the spill suppressor on it. You can pull an amazing key in 5 minutes
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Final Cut will not know the difference it’s not made to analyze the information in the image like the other programs do. If you use iPhoto do a quick import, then select all and export out into a file and then bring this into final cut it will all be correct. I say iPhoto because it’s fast and easy it analyzes the vertical horizontal automatically and you can batch export out in less than 3 minutes. This is the most automated way to do it.
Also if you go to system preferences and change the still frame duration to what length you want it, for example 20 frames or 10 when you bring into timeline it will all be at that length so you don’t have to manually change the length of 100 photos. But can only be done before you import
Grant Strac
Apple Master Pro Certified Final Cut Studio 2
Apple Trainer Certified Final Cut 6
Apple Level One Apple Final Cut 7
Apple Final Cut Optimization Certified -
I have been using DSLR for several years and do the same thing here and there besides using 24fps. I do not understand the all-1 and ibp difference. I have never heard of that nor could I find information online. If you could tell me exactly what it means I might be able to help. My guess is it’s something I know but you use different terminology.
I would love to try help
Grant Strac
Apple Master Pro Certified Final Cut Studio 2
Apple Trainer Certified Final Cut 6
Apple Level One Apple Final Cut 7
Apple Final Cut Optimization Certified