[Jason O’hara]

Thanks Shane,

indeed I’m aware how to rename clips in the browser as you advise – however that’s not what I’m trying to do, rather, I want to rename clips on the TIMELINE after using “Reconnect Media..” to connect the clip to the higher quality version of the same clip (that has a different file name than the low quality version it replaced), I want the clip on the TIMELINE to display the name of the clip it is actually connected to, however it does not, it retains the original file name, i.e “Clip1_proxy.mov” even though I have reconnected the clip to “Clip1_HQ.mov” – the clip name still displays as “Clip1_proxy.mov”?

[Jason O’hara]

very helpful. thank-you.

Indeed we’re well aware one should never mix frame rates, this HDV/24pf footage (in a 60i wrapper), along with some other DSLR footage in 24p (23.98) is archival footage we are looking to integrate in our doc – which was shot entirely in 30p (29.97), so wondering what is the optimal (though necessarily imperfect) method of conversion.

The reverse telecine you recommend, does an excellent job creating what appears to be a perfect 23.98p file from the 24pf, which assumably can now simply be treated the same as the other archival 23.98p content, to do a frame rate conversion in compressor from 23.98p to 29.97p using “frame controls” as described here:
https://www.kenstone.net/fcp_homepage/converting_frame_rates_compressor.html

This works fine when there is little motion in the frame, but where there is motion, the conversion artifacts are brutal at both “better” and “best” settings. Will an Alchemist or Terranex handle this conversion any better? The consensus online seems to be that with time – Compressor will do as good a job as this hardware, but so far – my results with compressor have been unsatisfactory.

I have been extremely impressed by footage we’ve slowed to 50% using Twixtor – the interpolation of the missing frames seems to be utilizing a more sophisticated engine than “frame controls” in compressor – could Twixtor be the optimal solution? Thanks!

[Jason O’hara]

“If you can avoid it…don’t convert to Cineform THEN convert to ProRes…that’ll degrade.”

How then to also “remove fish-eye” from the GoPro footage? is there any process for converting the .mp4 straight to ProRes while also accomplishing this? or alternatively, a plug-in for FCP 7 that will remove fish-eye from the ProRes?

[Jason O’hara]

This problem is caused by one of the recent Apple Pro Applications updates.

You need to undo the update by reverting to a previous version of your system drive,…or alternatively, if you don’t have a previous backup of your system, you need to at very least replace the problematic file, which is:

AppleHDVCodec.component

It is inside Library/Quicktime folder. I was skeptical, because my problem was with XDCAM clips, not HDV, however this codec is apparently involved with displaying XDCAM clips in Final Cut.

You must simply replace this file with a version of the same file from before your recent Pro Applications update and voila, the problem will disappear, I can confirm this fix worked for me on both my systems.

[Jason O’hara]

thanks, for digital projection in theatre

[Jason O’hara]

Many thanks for the insights.

Perhaps I should clarify – I am outside of the country filming for 35 straight days – I have 2x 3TB external hard drives in separate enclosures. I have enough cards to get me through a days shoot, but must dump all my footage nightly and reformat my cards.

My question is whether I should set the 2 drives up as a mirrored RAID, or as 2 separate hard drives and manually copy the files to both? which is the better workflow/more secure option? Thanks for the help!

[Jason O’hara]

indeed, capturing first clip by itself is my work-around, but then when setting up the capture for the remainder of the tape, it sometimes does the same thing again, skipping clip #2 and starting with clip #3, only to rewind again at end to capture clip #2.

In this particular case my in-out points are:
clip #1 00:00:21:00 – 00:01:10:00
clip# 2 00:01:29:00 – 00:03:16:00
clip #4 00:03:42:00 – 00:05:04:00

[Jason O’hara]

on further inspection, I can verify the problem is occurring with the video not the audio.

The exported audio is frame by frame identical to whats on the original timeline.

The exported video however has somehow lost a total of more than 3, almost 4 seconds over its approximately one hour duration.

On the timeline, my video’s duration is: 01:06:28:14 and in my output file, it is 01:06:24:20

[Jason O’hara]

sorry, let me clarify, I am not re-compressing the HDV, editing HDV 60i footage on an HDV 60i timeline, and using the export a quicktime movie, selecting “Current Settings” for Audio and Video, thanks

[Jason O’hara]

Many thanks everyone for the insights, very helpful and very much appreciated!! and indeed 3 of the 4 archival films are bundled together on one DVD for sale, further, there is no copyright restrictions whatsoever as all are fully public domain – no restrictions creative commons licensed archives. As such, I can rip a full SD version from the DVDs and run that threw the Alchemist for an infinitely better result, am I right? An SD MPEG-2 from DVD is still better than a 320×240 MP4, even though the latter is described as “high-re edit file”, right?