John Vonmutius
Forum Replies Created
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The only way I know of to force the audio to move into sync is to link the audio and video, so that when one is moved out of sync, you see that red box with a + or – value. However, in order for that to work, you’d have to lay each clip in its own sequence with the audio, then use those sequences to edit into a new master sequence. Or, you could take the synced sequences, export them as QT movies and bring them back in, which would be easier to work with than nested sequences. It’s not a very graceful solution, but I’m not aware of any other.
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Exploring the pitfalls of the 5D workflow. The many, many pitfalls… -
The easiest answer to this would be to export a segment of your synced audio as a self-contained QT movie and see if the audio is synced correctly. If it is, then you’ll just have to have faith while you’re editing. If not, THEN you can hunt down the problem.
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Exploring the pitfalls of the 5D workflow. The many, many pitfalls… -
FCP’s Batch Export would work, but why occupy FCP during that time? Why not just use compressor? There’s a preset for ProRes422 with audio pass-through.
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Exploring the pitfalls of the 5D workflow. The many, many pitfalls… -
After reading this thread, I completely sympathize with your efforts to work with the Canon E1 Plugin – it’s less than adequate. But I’m very confused about why you’d want to capture 5D footage at ProRes HQ. The camera only records at 35 mbit/sec, which is well within ProRes LT’s capabilities. You will not get any more information by recapturing. You should either transcode all your originally transferred footage, or just send the ProRes LT out. The color grading application will render in a higher-quality codec anyway.