[Joe Huggins]

Bouke,

That is fantastic! I can’t wait for our editorial staff to put that to work. If this works like the demo shows, this solves one of the biggest problems that has plauged FCP for people who relink digital media in a tapeless environment. Apple should pay you large amounts of money for this.
Thank you for such a quick solution. I’ll let you know how our tests go on a full feature. You’re amazing!

Thanks, Film Joe

[Joe Huggins]

Glad to hear you are a TC detail person as this is usually on an issue to film people, and writing a ‘rename’ program could be a very valuable software. If all your media is on tape TC is not an issue. But in a film feature mode, after a SD offline, when the selects are telecined in 444 to SR tape there are breaks in the tape for TC. All the Hour 1 Source selects from a neg roll are together, so FCP can (as I understand it), search across those breaks, thinking it is tape 1 hour 1, and find the TC scene and capture that into the system using the file name from the timeline to look for the TC. All if fine.

But we preferr to not use tape, lay the selected scenes to a SAN. It would be great if FCP could then look at that TC media and relink it to the timeline, but it can not since TC is not used, but the original file name is how FCP links media to the timeline.

So, the VVTR Pro software from Gallery, was designed to find all the Hour 1 selects on a drive, and put those shots in TC order into a ‘fake’ timeline that puts blank ‘slugs’ between the selects where the TC is missing. Then FCP using a standard capture mode, sees the drive as a VTR – thinks its just a ‘deck’ and captures the needed TC scenes and places them in the timelne. It’s a 2-step process, but VVTR Pro is not reliable for this purpose.

If you want to discuss this and any code you might write my number is 404-633-1448. This would be very useful in my opinion to most transfer houses working on features or color corrected selects for commercials cut on FCP.

Thanks, Film Joe

[Joe Huggins]

Thanks.

We can not use Avid as we have 444 QT media captured by a Kona3. We are not exporting with Media Manager, we are taking an offline EDL, tranferring selects via telecine direct to drive in 444, so there are TC breaks in these selects. Now they have the right TC, but FCP can not match to the 444 selects as it needs a file name first. So we have to have FCP ‘control’ a tape deck (in this case VVTR and media on a drive) and capture the 444 TC media in order for it to be placed in the timeline in high rez. This is the big ‘flaw’ in FCP for matching back in a DI workflow using selects process. It can not use TC it has to have the original file name to re-link.

I don’t suppose any new tools for this exist in V. 7 do they?

Thanks, Film Joe

[Joe Huggins]

Neil,

Thanks for the suggestions. Mark at Gallery has been helpful, but they admit they only designed it for standard playback for ADR/ audio work. The Pro version to fill in selects holes when conforming is not fully supported anymore. The Cineform DDR is interesting and we will look at that and the MOTU device. Did the MOTU make the VVTR more accurate or just provide clean TC? I’m not sure that purchasing that hardware will help VVTR as much as we’d like probably.

Thanks, Film Joe

[Joe Huggins]

Because the TC numbers have to be given a FCP File Name to be able to conform to the timeline. FCP has to batch capture from a tape or in this case a drive, in order to re-link to the timeline. Avid can link with TC, FCP has to use a ‘file name’ as TC alone does not link in a timeline. Cpmplicated, no?

Thanks, Film Joe

[Joe Huggins]

Gary, thanks for the response. Kona suggested we try that, but it will not work as we need to batch capture which has to be done in FCP. At this point we are manually adding 1 frame on each scene and take in the ALE list (before input to CinemaTools) and then removing one frame in the timeline to be sure it matches the original telecine TC. Quite an ordeal for a feature.

Thanks, Film Joe

[Joe Huggins]

Peter,

No, I think you are the only responder. You see it too? It should work, but we can’t tell why. Are you using a Kona 3 or other capture device?

Thanks, Film Joe

[Joe Huggins]

Shane,
I agree, they do great spot work, but still have an Avid Meridien and work from DBeta and tape to tape formats. Old habits are hard to break. Joe

Thanks, Film Joe

[Joe Huggins]

Steven,

Thank you, but the project is not originating in Avid and the client does not want a DNxHD file. He wants a DB and HD tape, just as if it came from film transfer.

So my goal from my FCP is the first step to creat 2 tapes. I’d prefer not to have a 6:1 render time to creat both the HD and again an SD file version before the tape output. I had hoped I could ‘play’ the proxies instantly with the field grade and without, but that is not possible without an ‘import”render’ from Rushes/Alert/orCine, right?

Joe

Thanks, Film Joe

[Joe Huggins]

I’ll check the AJA calculator, but I wanted on with ProRes in SD and HD variations, and the new Red format info. I thought this chart came from some HD reference site or Cow data that may have been easy to find online.

Thanks, Film Joe