[Ian Lamb]

Great idea, thanks! I dusted off FCP7 and had to roll the black magic drivers back to version 9.9.2 but FCP indeed captures variable bit rate through the decklink card. I’ll try Premiere CC next as flipping drivers back and forth all day will slow things down considerably.

Really missing AJA VTR control right about now.

Thanks again!

[Ian Lamb]

BTW, my project is setup to cut 720p at 23.98, and my final delivery spec needs to be 1080i60 at 29.97.

[Ian Lamb]

Key Keefe,

Thanks for the reply! I was under the impression the Kona card couldn’t do 23.98 to 29.97 conversions… I’m using a HD1700 for the deck.

-Ian

[Ian Lamb]

How I blur stuff in a nutshell…

1. duplicate your video layer and blur the layer underneath.
2. track the top layer license plate with analyze motion
3. Cut a matte to remove the license plate so you see through to the blurred layer
4. apply a match move to the matte and use the tracking data from the analyze motion effect as the source.

I’ve since given up on Motion and started using Mokey to track and cut mattes that I bring back into FCP.. better tracking and fewer crashes for me.

-Ian

[Ian Lamb]

Awesome idea! Unfortunately, this is a 120 minute feature and I’m not being given the original media, only an offline project and a box o’ SR’s to do the conform. I wonder if CinemaTools would let me do the reverse telecine with offline clips. Hmm..

Also, would copying and pasting into a new 23.98 seq keep the cuts frame accurate to compare to the ref cassette I need to upconvert?

-Ian

[Ian Lamb]

I was hoping to not have to use EDL’s since the effects will be lost, but I figured this was the only way. I hope there aren’t that many that I’ll have to re-create. A day of copy and pasting effect parameters from one sequence to another isn’t my idea of fun, but so be it!

thanks!

-Ian

[Ian Lamb]

Didn’t know there was a caldigit forum here… good to know! Just read that first post. I had to re-install FCS2 and ran the usual software upgrade for studio not realizing there was a system software upgrade at the same time. It was probably right in front of my face too..

Doh!

thanks,

-Ian

[Ian Lamb]

Thanks for all the input, I’m glad everyone else has the same difficulties I’m having and I’m not missing anything. EDL’s are cake to import and digitize, but the majority of our shows are effects heavy so the project needs to come across.

I think I figured out why media manager made so many clips… The offline editor used multiclip angles on almost everything and I didn’t turn them off when creating the new clips.

Would there be a way to write an automator script to help with the digitizing? I’ve never messed around with it before but I think I might give it a try.

As is, my sessions are running faster due to the simple ability to use a supplied quicktime offline for our reference split instead of upconverting a chase cassette then digitizing the whole thing in, so I’m not too frustrated.

thanks again,

-Ian

[Ian Lamb]

I used final cut to render out a 1080p uncompressed quicktime, but the edit bay I’m using to lay off to tape has a kona3. So I should use the kona card to convert rather than using the quicktime I created?

thanks,

-Ian