[Ian Silverstein]

I’m working on a feature (3 systems, Final Cut Pro 6.0.4, QT 7.5.5, XSAN 2, Mac OS 10.5.5) and I’m just encountering this issue. It’s my 3rd show with the DVCProHD codec, and this has never happened. I don’t know if its a permissions issue (we’re all read and write), a quicktime issue, or a quicktime issue in conjunction with this version of the MAC OS and Final Cut. For my last show, I used 10.4.11 with FCP 6.0.3 and qt 7.5 – also a XSAN setup – with no issues.

HELP

[Ian Silverstein]

Thank you.

[Ian Silverstein]

It turns that we do have window burn ins – 24tc for the camera, audio tc, and camera designation.

There was no telecine; we’re working with clones of the HDCAM SR 4:4:4 masters.

[Ian Silverstein]

I think that is what the telecine facility was concerned about when they suggested this export/reimport process.

Again, several tests of short scenes have been done to ensure edl accuracy (we’re onlining HDCAM SR 4:4:4 masters)

I’m also creating a Cinema Tools db and synchronizing my clips with it. This is to ensure an accurate audio edl (bucket loads of db management).

I appreciate your help. Thank you.

Ian

[Ian Silverstein]

I’m taking three or four clips on which I’ve marked an in point (using audio tc) highlighting them, and choosing ‘create multigroup clip’. I thought merged clip meant synching separate audio and video.

[Ian Silverstein]

I’m on a film that used up to 4 Viper cameras for virtually every set up. Due to circumstances beyond my control, a facility is essentially capturing entire camera rolls (we shot onto HDCAM SR 4:4:4 in the Film Stream mode) as one clip (or several, depending on whether there were tc breaks). Once I receive these clips, I have to break down every camera roll into scenes and takes – as subclips. Then, I have to create multigroup clips (I sync my clips using audio tc). The telecine facility strongly recommended that I export each subclip as a final cut pro movie and reimport them before creating my multigroup clip; by creating new master clips, I was presumably ensuring that there would be few problems, and my edl’s would be accurate (I’ve done tests).

So, the only extra step is the export/import, which doesn’t consume too much time or RAID space.

I hope this addresses the issue of defining stablility. Your response would be greatly appreciated.

For the record, I have read the ‘freakin manual’ on ocassion, but only on ocassion.

Thank you.

Ian

[Ian Silverstein]

Thank you – I will give it a try.

[Ian Silverstein]

I think we’re encountering a similar problem – the audio doesn’t always appear in the viewer when we match frame the multiclip angle.

I know this will seem a bit cumbersome, but I wanted to describe our workflow, since it involves so many steps. Our show was primarily filmed with 3 or 4 Viper cameras for practically every set up. A telecine facility took HDCAM SR clones of the master tapes and captured complete camera rolls into FCP version 5. We’re using the DVPRO HD 1080i60 compressor. Since we don’t want to edit with the master camera rolls, I’m subclipping each roll into scenes and takes. Then I export the subclips and reimport as final cut pro movies which reference the qt media of the master camera rolls. I then proceed to group each take together into multiclips.

We’re finding that as we edit, if we break the link between video and audio on our timeline (a preference), overwrite or replace a clip, or change the picture in the sequence only (not the audio), save our work, quit, and relaunch, the match frame to multiclip angle becomes erratic. In order for it to work, the video and audio need to be linked in the timeline; however, it becomes a problem if the video and audio aren’t from the same take in the viewer.

Any suggestions?

Ian