Jack Bibbo
Forum Replies Created
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The file had been imported too earlier before the render was done. And then when the render was actually finished FCP would never let it be imported without truncating it. It was as if it slapped a marker on that file to stop at 7:02 on a 9 sec file.
We dupped it, renamed it and then re-imported. And were fine.
Does anyone know why this happens?
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going to photoshop, although a great solution it is not a quick one.
And it is a pretty basic. Avid has had this incorporated in the NLE for years.
oh well, I can do it in AE. no worries.
thanks for the replies
jack
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thats to bad. It is such a basic thing to clone video
oh well
thanks
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Let me elaborate.
Took clip – Pro Res 4444 – and sent it to Motion. Pulled a key. Sent back
to FCP. Rendered it. And then the codec on says “Motion Codec Decompressor”What am I losing on the conversion? If anything. What is this codec?
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Believe me I thought about #2 hurry issue. But I have seen it happen in two places now. And it is easy to tell what is and is not selected. I guess the common denominator is me though ;0.
But something else is going on. hmmmm. It is inconsistent. I will try the prefs.
thanks
jack
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Interesting. So if I start my project at my Studio using FCP 7 and ProRes LT, export an XML and move it to another Studio that has only FCP 6. It wont work? Did I understand that correctly?
So if I know that I will transfer stuff at a later date to another studio then use a codec that is compatible to both, like ProRes HQ.
Right?
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Great! Thanks.
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IMO,
I would be VERY careful about EVER changing the original names of the DNG Files.
What I would do is just rename them in your project. I keep a column open and have the original name of the DNG FILE there. But you really dont even need that. You can find it on your drive by right clicking and say “reveal in finder”.
hope that helps.
jack
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Oh and one more thing. (sorry)
I have to side with Walter on this pre/post locked cut grading issue.
There is a workflow that should be followed. At lease as best we can. Maybe old school but it is there for a reason.
NO DOUBT the client wants to see “finished” looks/fx before it is really finished. And it is AMAZING how some clients can no longer see pass ROUGH AUDIO or how polished we need to make it for approval. But at the end of the day it is my job to control the workflow and the room.
A friend of mine, who happens to be a great editor, taught me early on that it is all about room control. It is your suite and you may need to ‘educate’ some green producers on the proper way to do things. Gingerly and diplomatically of course. After all it will save them money and frustrations in the long run.
My two cents….now I have to run off and mix this cut so I can get approval.
bibbo
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Maybe late to the game:
Better Trim tools. – More specifically better trim window.
Wait…also ALL my settings in one place. So that when I jump from machine to machine I don’t have to LOAD 5 different settings in 5 different folders.