[Jonno Woodford-robsinon]

Thanks Jeremy.

We’ve kept the clips in their XDROOT and card number folders, but have had issues with Premiere not remembering where to find those files in some instances.

I’ve used Catalyst to rename just the offending clips and it seems to be happier now, which is good.

[Jonno Woodford-robsinon]

Thanks Rob. So Sony Catalyst Browse allows renaming – if so, that’s great news. I thought only Catalyst Prepare did – but I hope I’m wrong coz Prepare is a monthly subscription.

I also heard somebody had used an adobe product to do the same thing, which I was going to look into.

Thanks for the info about Catalyst Browse, I will go experiment!

[Jonno Woodford-robsinon]

And so what was the answer?

In my case the project is 1080p 24fps

It always has been, but recently when I moved to another computer, for no reason the project would never open. In the end after changing User settings, deleting MCStates, and anything else I could think of, the only way out was to make a new project of the same frame rate at 24fps 1080p (film) – same as the original project – and then after opening that successfully, I dragged in all my bins and carried on – until now when I go to modify a title. yeah, that’s right, modify an existing title! What is that about.

If anyone has any advice – i’m all ears. Main thing is that if I choose PAL or NTSC, is this gonna bugger up the project in some unforeseen irreversible way that I am gonna regret?

(think I will just backup the project folder before I choose one…just in case.

Thanks in advance, if anyone happens to be listening.

Jonno

Film Editor: Avid, FCP, Lwks
Also dabble in VFX: Shake, Nuke
http://www.fusspotfilms.com

[Jonno Woodford-robsinon]

Make that 6 years later!

Film Editor: Avid, FCP, Lwks
Also dabble in VFX: Shake, Nuke
http://www.fusspotfilms.com

[Jonno Woodford-robsinon]

Didn’t work for me. And it’s 2020 and still doesn’t appear to be fixed : (

I don’t have this trouble in Avid – I can offset both the GUI and the audio to sync properly with Blackmagic UltraExpress (or any other BM IO).

Maybe we need to ask BM to provide offsets in either direction so we don’t have to rely on NLE providers to eventually (if at all) provide a setting for it…

depressed : (

Jonno

Film Editor: Avid, FCP, Lwks
Also dabble in VFX: Shake, Nuke
http://www.fusspotfilms.com

[Jonno Woodford-robsinon]

Hi Michael,

Thanks for the tip. Seems to be working now!

brilliant,

Jonno

[Jonno Woodford-robsinon]

Hi Chris and Jeff,

I’m working with Tim and have discovered a workaround and thought I should post it in case it might be of interest, or help anyone else having similar issues.

It seems that Premiere truncates the reel/tape name to just A000_C000 and loses the UID part of the filename from the tape name, where as Avid does not. Even when telling Avid to ‘use filenames’ when re-linking, Avid still checks the tape name. There’s also the issue of the _001 (and subsequent suffixes) generated by Premiere for shots over 2GB in size, which stops the ‘use filenames’ from working as the filenames will never match.

Here’s what I did to ‘work around’ it

-export XML from Premiere (for FCP),

-open XML in textedit and search&replace “_001.R3d” with “” (NB, haven’t tried just losing the “_001” only yet – will try that tomorrow) and do this again for _002, 003 etc (not many shots go past _005 so it’s not too much manual labour), save the XML,

-import XML into FCP,

-export with AutomaticDuck as AAF for Avid,

-import AAF into avid,

-import the REDCINE-X ALE in Avid,

-relink ALE to MXF files,

-change the tape name of ALL masterclips (from both AAF and ALE) to just one tape number (for safety, I do it by RED reels),

-re-link the imported AAF to the ALE clips and it all works.

Hope this is of some use.

cheers

Jonno

[Jonno Woodford-robsinon]

Hi Nick,

I like the Extend function also. I use it a lot when cutting jobs on Avid as well as FCP. I seem to be bouncing between both systems every other job recently and hoping to minimise the number of procedures that have to be done differently so I don’t have to un-learn those well trained finger macros I spend so much time repeating. The ability to re-map the keyboard has made the transition much easier (I remember having a go on FCP3 – no keyboard layout options back then – that was hard)

I can deal with the un-linking aspect to a degree, it’s the lack of red sync offset numbers that is the real bummer – I guess I’m gonna have to get used to it. I just wish when it merged a clip, it actually merged the clip – seems a very fragile function.

I think we’re upgrading to FCP7 once the shoot is over (2 weeks to go) so with any luck some of the gremlins may go away.

Thanks for the ‘Option-drag a clip in the timeline to copy it’ trick – I like that. It’ll be very handy, as will the audio technique to slip the in and out points – that seems easier than going into slip slide mode. I’ve occasionally used it before but keep forgetting it’s there!

cheers, and thanks again

Jonno

[Jonno Woodford-robsinon]

Hi Nick,

Thanks for your detailed reply.

Just to set your mind at ease, the sync of the merged clips is not slipping or drifting, I meant an intentional slip – sometimes when I want to tighten a cut between 2 lines of dialogue, I lock the picture track, mark where I want the next line to start, mark out on the very beginning of the next line, ripple cut (and then roll/slip the cut point a few frames earlier), then lock audio, then mark where I want the picture to cut, then advance the ‘red sync offset amount’, (go back one frame) mark out, ripple cut and hey presto, i’m back in sync and all looks good. I do this mainly during the assembly before I have too many tracks to deal with, whereby I use the ‘COMMAND-Click’ a-synchronous technique you described. I find it quite a quick way to work at this stage in the process.

“maybe that section was never linked to the video in the first place?
would depend on the syncing process:”

All our clips have been merged using the merge clip function. Some of them have had to be offset a frame or 2 due to the timecode lockets not always lining up accurately. When this occurs, we discover it after the clip is merged. we put it on the timeline, slip the sound and then COMMAND-L the clip, drag it back to a bin and get rid of the previously merged clip. We are assuming it is now merged due to the fact it’s icon looks exactly like a merged and/or captured clip.

Is there any reason the merged clips become unlinked/unlocked while on the timeline even if I haven’t removed any sections of sound?

As for the “Find Clip in Browser” issue, thanks for the tip. We are using 2 projects: 1 for importing the RED rushes and Audio, the other for cutting with.

Do you think the following will solve my ‘Find Clip in Browser’ issue: copy the ‘import’ project, rename it as the ‘cutting’ project, open it, then open my original cutting project and move all my bins to the renamed import project, then delete all the import bins so the Match command doesn’t go looking for the rushes day bins.

Yes we’re using the American slating system – I prefer it too (except FCP puts the first slate at the end of all the other slates ‘cos it doesn’t have a letter – we make our first slate with a “-” to fix this, eg: slate 23 would go like this: 23-, 23A, 23B, 23C etc). I prefer just to hit my “Find Clip in Browser” button and instantly be in the scene bin to choose another clip – way quicker than scrolling through the browser to find it manually.

I sure hope FCP 7 is more robust than v6, these little anomalies can become rather frustrating when they present themselves too frequently.

Thanks again for your help with our issues. It’s very much appreciated

cheers

Jonno

[Jonno Woodford-robsinon]

Hi Nick,

I am the editor on the project Adam is referring to.

[Nick Meyers] “if it’s to get rid of an unwanted part of the audio, you could keyframe a dip in the volume.
if it’s to adjust sync you have a bigger problem.”

To adjust sync. It’s not so much that clips become ‘un-locked’ (also an issue), but if for some reason I have to slip the sound from the picture, the clips often don’t show the red ‘sync offset number’ that I have come to rely on. It is also a little cumbersome having to re-lock the clip to make it select both pics and sound in order to trim both simultaneously etc.

It seems that over time random clips will lose their ‘merged’ quality and therefore not show the sync loss offset if slipped (whether sound is deleted from the middle of a clip or not).

Another symptom is that sometimes when I do the equivalent of ‘Find Clip in Browser’ (not sure exact term off hand), FCP tells me the clip is not in the project (I ask my self: well how did I cut it into my timeline then?!) and asks if i’d like to create it. If I say yes, it makes a new clip with identical information except that instead of having 2 or more audio tracks, it only has 1. Occasionally it will leave the Description and Log Note columns empty, but not always.

On previous projects where the picture and sound were captured together (ie, from tape formats) I haven’t encountered this problem.

Is there something we are not doing correctly when merging the clips?

If not, do you know if FCP 7 has addressed the issue?

Thanks for your help.

Jonno