[Joel Peregrine]

Hi Andria,

Sorry for the delay. I didn’t have it set so I got notified of responses.
For a self contained movie your fully rendered/conformed sequence the active window and choose File > Export > QuickTime Movie. In the export window check Make Movie Self-Contained at the bottom. The other settings should be Current Settings, Audio and Video and DVD Studio Pro Markers. Make sure you’ve got plenty of hard drive space at the destination you choose for the file. Once exported open Compressor and drag the file in. For the best output without complicated tweaking choose form the Apple presets as you did before based on the length of your movie Apple > DVD > DVD: Best Quality 90 Minutes should look great. Because your computer is slower you could speed up the process if your program is shorter by choosing the Fastest Encode 90 Minutes preset and bumping up the bit rate to no higher than 8Mbps. This is a great tool for checking what your max bit rate should be:

http://www.eventvideographer.com/bitrate.html

[Joel Peregrine]

Hi Steve,

FWIW It can work, at least on the model I had when dvd recorders first came out. It was a Panasonic also. I was able to dump to the standalone dvd burner via the firewire input. That was back on FCP3. It might have even been version 2. The quality was fine for client previews.

[Joel Peregrine]

Hi Andria,

Its never a good sign if the time to completion is going up. Something is wrong. Cancel the encode. There might be problem with a source file. You’d be better off exporting a self-contained movie and running Compressor as a standalone app if you want the best chance of a successful encode. I’d repair permissions, restart, then run a test with small clip first. If everything is ok try it again.

[Joel Peregrine]

Hi Bill,

Thanks for your interest.

“Can you ingest the XHA1 30p footage as 60i?”

Right now the XHA1 footage shot at 30F, when captured using FCP’s HDV capture preset, shows up as 30p in FCP’s browser. The HV30’s footage shot at 30p is showing up as 60i in FCP’s browser. It makes no difference which camera I capture on either. Here’s what I’ve decided to do for now – I’m exporting the HV30 material that I need for the muliticlip as a HDV – 1080p30 file. I take a hit with a compression cycle but until I figure out a faster more efficient workflow this will have to do. I tried exporting the HV30 footage as ProRes – 1080p30 but that gave me the same ‘not the same codec type’ errow, so it has to be HDV. The cons are the quality hit and the time it takes, but I make that up in the space requirements. I run through up to 15 hours of captures every week so whatever I decide to do it has to be fast and efficient. Below is a still of some artifacts that occur as result of the 1080i60 to 1080p30 HDV conversion. (This is a screen capture blown up 400% in two viewers.) The left is the converted file – notice the blockiness in some of the nondescript areas. At 100% they are not noticeable.

[Joel Peregrine]

Hi Brian,

Dealing with this situation now. No resolution. It seems that there is no way to create a mulitclip without converting BOTH camera angles to the same frame rate and codec. UGH.

https://forums.creativecow.net/readpost/8/1014577

[Joel Peregrine]

Thanks Dave! Today I loaded up a project I shot at 24F on the A1 and 24p on the HV30. I ran the HV30 footage through the reverse telecine process suggested in the Apple knowledge base article. I then tried using those converted prores clips along with the A1 24f captures and got the same error when attempting to make a mulitclip – different codec types. Ugh. Right now I’m converting some HV30 clips from 60i to 30p in Compressor to see if they are digestible by Multicam…

[Joel Peregrine]

Sweet…

[Joel Peregrine]

Hi,

Does the glitch happen at the same spot if you capture the tape more than once? Does FCP stop when it hits the glitch and create a new clip? A few options: Make a firewire dub of the tape between two mini-dv cameras and capture the dub. Or try the trial of Capture Magic:

https://www.bigmugsoftware.com

It avoids a lot of QuickTime’s sensitivity to timecode glitches. As a bonus if you have two or more decks or cameras you can capture more than one source at a time.

The last option is one I try to avoid but often its the only way to get a tape in – convert it to analog with a media convertor or through another camera that can transcode analog in to firewire out. It will go slightly soft but the footage will remain in sync regardless of the problems that are on the tape.

[Joel Peregrine]

I’ve got three networked systems that I use on a regular basis. Each of them is always doing something – encoding, capturing editing etc. But I’m a one-man-show, a single editor that like most of us is able to multi-task. If I want to run the same versions Apple makes sure I have three licenses. I wish they had a different policy, but that is the way it is.

[Joel Peregrine]

“Export this will current settings (not self-contained) and use this in your multicam clip. ”

I wish it did work that easily. Unfortunately FCP has a problem exporting a clip with a gap – it won’t export as a reference movie. You’ll get a huge self-contained movie that takes eons to writie no matter how you set it to export. My workaround is to use a piece of slug that has been exported as a self contained movie to fill the gap in the track. Just import it and copy and paste it enough times to fill the spot where the camera wasn’t running. That way the movie will be a very small reference movie. (Oddly slug right out of the viewer won’t work. You’ll still get a full-sized exported file.) What would be an even better solution would be if FCP allowed nests to be used in multiclips. As it is now an error occurs, hence the need to export a clip before using it.