[Jeff Coleman]

Did you find an answer for this question?

Was your previous computer running the same OS (Mavericks 10.9.3?)

[Jeff Coleman]

Jeremy,
Genius.
The slug thing didn’t work for me, but something very similar did thanks to you:

1. Create an entire 29.97 df sequence of slug for say for an hour (TC start should match TC start of 23.98 sequence)
2. Export that sequence as a ref movie (29.97 df slug seq movie)
3. Import that same movie (29.97 df slug seq movie)
4. Drop it on to one of the tracks in the 23.98 timeline sequence

then you have a beautiful reference track if you turn on your timecode overlays in the canvas. You can even disable that movie in the sequence (CTRL-B) so there are no render bars and still have the reference timecode displaying in the canvas overlays.

WAAAAAAAAY easier than a lookup table or calculator. Seems simple when you think of it.

A huge THANK YOU.

[Jeff Coleman]

If you created Timeline sequences in Vegas and FCP with nothing but the secondary/external audio, how long are those sequences? Are they the same length?
What if you do the same with the 7D footage?

[Jeff Coleman]

Waveform not lining up with audio.
– I don’t think that’s unusual in FCP. The waveform isn’t perfect.

Sony Vegas works
– good to have a backup, but I don’t know that program.

Sync audio clap reference
– I’m not sure what you mean. Would you provide a bit more specifics please. You are using double system of some sort, yes? Are you trying to line up the 7D audio with the external recording? What was the second/external system? What is the sample frequency of that system? sample frequency of your sequence? sample frequency of the 7D clip?

I’m guessing, but it sounds like 44.1 vs 48.0 issue.

[Jeff Coleman]

Rafael
F900 makes 24p.
F500 plays it back.
(I believe the recording is psf, but the image is p.)
I’ll double check that as it is a unique configuration for me. Thank you.

Joseph
Double system sound, visual waveform, arbitrary timecode, sync in timeline….. hmmmm.
This is multiplexed SDI captured movie playing in QT Player and the Viewer, although I did try to export from the timeline to see if it made any difference. No double system sound, not looking at a waveform but at picture– though perhaps that’s what you meant.
You’ve provided food for thought though. FCP doesn’t display the timecode of the clip, but assigns it arbitrary timecode? If true, then that might explain why the bloop lit frame in FCP has a different timecode than the bloop lit frame in QT Player when looking at the same clip/movie. (BTW, the QT Player timecode matches the tape timecode). That’s a bit scary as I think about it. That means I’d capture frame X when I batch captured my final sequence, but it would actually grab the wrong frame, X – 2, in order to insert the one intended. I think my head hurts now.

[Jeff Coleman]

Maybe I’m missing something, but I don’t see how that calculator helps.
The manual for that timecode calculator reads:
“To convert a value from one format into another choose appropriate format from …format selection drop-down list…”

So if my first selection is 29.97 drop and my conversion is to 23.98 drop:
I select 29.97 drop in the pull-down menu,
type in a timecode (e.g., 10:31;00)
I then choose 23.98 drop from the pull-down menu.
Unfortunately the number it gives me is 13:08;19.
It seems to be adding frames and not really doing a conversion considering I’d add pull-down to my 23.98 in order to get to 29.97. I’m expecting a result from the calculator like 10:30;10) or 2 frames for every minute, not 2 minutes plus difference over ten minutes.

I just want to know where to end my segment in 23.98 sequence so that it ends on frame 00 in the 29.97 sequence. Can this calculator do that or do I need to create some sort of look up table?

[Jeff Coleman]

You exported the raw clip sequences using Automatic Duck from AVID.
You opened those sequences in FCP.
But how did you get playable media into FCP?

[Jeff Coleman]

Hmmm.
Maybe I’m overlooking something here but would this do what you need?

1. Since you already have markers. Create subclips out of the markers (Command + U)
2. Put all the subclips in a separate bin.
3. In that bin, remove/add/shuffle columns to get the info displaying that you desire to have in the text file.
4. Select that bin and export batch list.
You could open that batch list in Excel if you wanted to and have a sortable, searchable database (of sorts).

[Jeff Coleman]

Excellent response.
THAAAAAAAAAAAAANK YOU!!!!!!!!!!!!!!!

MOTION:
-Made my gamma in Motion 2.22 just because that setting seemed to match the blue the best.
-Color coordinate indicator was on, but it reads in decimals or percentages instead of 0-255. I didn’t find that much help except within Motion to do comparisons.

DIGITAL COLOR METER
-Very helpful. With it, I could accurately compare the web color displayed in Safari with the color displayed in QT Movie to see how close they were to each other.

[Jeff Coleman]

I viewed that clip before posting. Nice tip. Thank you. However that seems to address getting a color created in Motion to match the rgb values of another. I’m trying to get the graphic to display the right color in Motion and when exported.

Color in Photoshop = Color in Motion = Color in FCP = Color in QT Export Movie for Web.

Since first post it seems that the color in Motion doesn’t look like the color in the resultant Export when it’s finished and it doesn’t look like the color when it’s imported into FCP 7. I’ll have to do some further testing on this to confirm that. I assume the export difference out of Motion is some sort of QT gamma setting that is different than FCP’s.

So if Motion ignores the color profile, what color space is it using?