[Jeremy Garchow]

Can you explain why you don’t want to export a quicktime again?

What do you mean you will lose the jpegs’ location and spend many hours encoding? If you want the 100 clips to become one clip with reel/xml information why not make it as such?

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

https://fcprescue.andersholck.com/

Select your version of FCP, download, and install to your hearts content.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Delete your audio render files, then select all of your clips in the timeline and do an audio mixdown. if that doesn’t work, enable and reenable the clip that the drop out happens. This should shake loose any weird render files. An offending render file is what I suspect is causing this behavior.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

In the future, trashing your prefs will get rid of the general error. look in to FCP Rescue, a free app that handles trashing FCP preferences really well. It allows you to store a working set of preferences so when things like this happen, you are just a few clicks away from being up and running with a set of preferences that you have set up.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Do you mean you have 100 jpegs that you want to turn into a quicktime movie? If that is the case, you need to choose the duration of the jpegs you import in the editing tab of your user preferences, choose an easy setup using the project settings you want (such as 8-bit Uncompressed, or DV50, or whatever) import the clips, arrange them in a timeline, render, and export a self-contained movie using the current settings of your project. As far as timecode, it’s going to start at whatever timecode you start your sequence and a reel number will not be assigned until you reimport the exported clip and assign a reel number. Although, these should not matter as the file will be digital and will have to be imported anyway. Reel number and timecode is usually helpful for tape based editing. Why don’t you lay it off to tape and redigitize? That way it will have it’s own assigned timecode and reel number. The settings in your edl will match the edl you give to the conform or online house (or whoever you’re giving this to). It also make a conforming process easier on another NLE since they will have to digitize from tape instead of converting your digital file to whatever codec they are using.

Media 100 had the ‘magic button’ to turn your still sequences into one clip on import, but FCP does not have it.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Why cinewave? For the cost of renting that suite for two days, why don’t you buy yourself an AJA ioLA and rent a beta sp deck for cheap? Your firewire drive, is it fw800? If not, you will have some trouble capturing and editing 8 bit material. Consider the DV50 codec if working on a fw400 drive. DV50 is a pretty solid 4:2:2 codec and the file size/bandwidth is kept to a minimum. If you decide to get the aja ioLA (analog version) then you have to get a firewire PCI card to keep the firewire busses separate using the built in firewire for the io and the PCI card for your fw drive. The PCI card should be no more than $40 US.

the cinewave route seems a little overkill, unless you had a similar cinewave setup at your digs.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

hit option j and type in what you want to do (for example type edit in the search window and see all the shortcuts that come up). you can then drag these buttons (if they don’t have a keyboard shortcut to the top of your timeline and the top of the viewer/canvas windows for easy access later). Also, you can study the keyboard layouts located under the tools menu and make modifications to your shortcuts if you so desire.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

Provided your machine is fast enough, change your pulldown to 2:3:2:3 from 2:3:3:2. This should give you a smoother look.

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

On the flip side, have a contacted Huge? They have awesome support and I’m surprised to hear they didn’t work it out with your Media Vault. I understand your pain as I went through the same frustrations with a SATA RAID, but I only had myself to support it. Ever since I switched to Huge I have had no major problems. I had a little glitch and they promptly told me how to fix it. What format video do you mostly work in? What RAID level was your HUGE set to?

Sorry to bug you about your frustrating circumstances, but I’m just curious.

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

[Jeremy Garchow]

If you can find them, the Sony PVM 14L5/1 or better the 20L5/1 are great for the price. They are 4:3 native, but work awesomely with HD 720p or 1080i. They come with built in analog component support. if you want HD-SDI support you will have to get the card that goes in the back for an extra 4 grand or so. I have done comparisons between the HD-SDI signal and analog component, and they both look extremely similar. If you’re capture card as HD analog output, you are good to go. if not get an HD-SDI to analog converter from aja for 1000 bucks and you’ll be good to go there too. You can also buy a 16:9 mask for the front of the monitor to make it look more like a true 16:9 monitor.

Good luck

Jeremy

———–
G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre