[John Pale]

If you go into the Capture preset, there is a menu to reset your RS-422 port. (you may even see in the summary that the port needs to be reset)

[John Pale]

Make sure every source has a valid reel number

[John Pale]

care to tell us what they are all about?

the proximity site is down…or just overwhelmed with traffic

[John Pale]

This is done in the coding of the webpage. It is not done in the movie itself.

https://www.soundscreen.com/qt_webmasters/kioskmode.html
https://devworld.apple.com/documentation/QuickTime/Conceptual/QTScripting_JavaScript/bQTScripting_JavaScri_Document/chapter_1000_section_5.html

[John Pale]

[Jon Fordham] “This is why I’m wondering if an EDL will do the job assuming the TC matches from the original HDCAM down to SD DVCAM…”

Hmm. Good question. The method I described earlier will probably not work under those circumstances. Worth a try. Make sure the reel names match exactly.
When you import an EDL it asks you whether you want to reconnect to existing media. It wont hurt to try. Good luck….report back one way or another…I am keen to know the answer.

[John Pale]

select the sequence. open the media manager. select “create offline”. set it to the Hi Def sequence setting that matches your HD footage.
this will create a new HD sequence that is not connected to any media (yet).
Open the new offline sequence. Select Reconnect Media. Navigate to your HD footage on the drives. You should only have to locate 1 clip to re-connect, then FCP will find all the rest, assuming all the clip names and timecode match.

For more on this…search for Media Manager in FCP Help.

[John Pale]

[35mmGuy] “1) I’m printing a project to tape that has music. It prints to tape fine with the music, but abandons the print when the music is turned off or deleted. The only difference I see is that when I have the music track on it says some thing about rendering the audio files, this takes a minute or two, then it prints fine.

With the audio off it doesn’t do this, then it abandons the print. I have tried telling it to render all when the music is off, but same thing, it quits when the music track is not being used.

Very weird, any ideas??????????”

Not really sure what is happening there (cant really tell from your description), but why dont you just duplicate the sequence, then delete the audio track (s)you dont want from the duplicate timeline, rather than turning off the tracks. Print the duplicate sequence to tape.

[35mmGuy] “2) I’m editing a telecined project and the post house has given me a flex-file & ALE for my transfered footage. Only problem is they don’t have a clue how to use it with FCP and neither do I? I can’t load it as an EDL. The only thing I’ve been able to do with it is load it into a Cinema Tools data base. That’s great, but then what? I can’t import that data base either.”

You are going to have to read the Cinema Tools help. Basically, I think you are going to be exporting a batch capture list from Cinema Tools for FCP. Flex/ALE files are for raw clips, not sequences (EDLs are only for sequences).

[35mmGuy] “Oh I love FCP :-)”

You are going to love its Manuals even better.

[John Pale]

You dont need an EDL, you just need the project file. I won’t go into detail, as you are not the editor, but using the project file and media manager you should be good to go. Its all in the FCP Manual and Help Menu.

[John Pale]

just export from FCP (quicktime conversion) using the Animation codec at full quality. Animation is a standard Quicktime Codec available to all systems.

The Avid Quicktime Codec, will give you a faster import into the Adrenaline, BUT installing the Avid Quicktime Codec on your FCP system (if you are running 5.1.2) may cause FCP to unexpectedly quit on startup, so I would avoid it unless it is specifically required.

The Apple Uncompressed 8 and 10 bit Codecs are installed by Final Cut Pro only, so they will not be available on the Adrenaline system.

[John Pale]

mark the clip using the “T” key.

Select the sequence icon in the upper right of the record monitor and drag it to the source monitor to make a subsequence.

lift the original clip out of the timeline.

edit the subsequence in the source monitor to where you want it be in the timeline.

the dissolve will be retained.

I know this isnt as convenient as sliding things around in segment mode, but thats all I got. What you want to do is not possible in Avid.