[Joseph Owens]

[Zoe N West] “but now the majority of the clips appear out of sync,”

Two questions: Do the clips appear to be our of sync under QT Player or in the FCP timeline?

and,

What is your default FCP sequence setting for the system? ( the top line in Audio/Video Settings –Sequence Preset:__________) This setting can affect how FCP maps media in other frame rates.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Sean Davison] “The plan is now to sport to resolve or colour to grade so I create an XML. “

Why would you not attempt to import the AAF directly into Resolve with none of these conversions?

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Chris Tomberlin] “the manual states there is another option file>save AAF that handles the AAF differently. “

You might be thinking of the workflow that exports a new AAF, where modifications were made to an existing Avid-originated timeline, rather than modifying the existing AAF and redirecting to the media target files.

I have the sense that your settings in the Delivery page still have to reflect AAF roundtrip workflow and include the new location of the render directory. This may also be why some individuals report that their new return trip AAF/XML reconnects to the original source footage, rather than the new rendered media. I have seen this happen if the Delivery page gets reset to (default) reflect no particular round trip, target directory or workflow.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Mario Moskon Sarunic] ” v9 should remain in beta for some time.”

All software is beta. Otherwise we’d never need new versions of anything. (I started coding in 1972. In HP Basic and ForTran with Watfor.) But I don’t really miss those boxes full of punch cards or rolls of paper tapes.

What is it (media mode) that only works in dpx? I forget.

Anyway, you do have to deliberately turn cacheing ON for it to function, and then there are 5 modes, one of which is “OFF”. Its a ‘cycle’ selection, so good to check which mode you may be in.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[William Carr] “Any suggestions?”

I kind of think you’re stuck with this workflow in Log&Transfer land. My first thought (how I would do it) would be to set up a hardware transcode on ingest, but that only works with Log&Capture with an SDI ingest route supported by an interface card like an AJA or BlackMagic device. That would be real-time, but the trend is for faster-than-real-time (hopefully) with data transfer.

But you have discovered if the format needs to be changed, that will take a bit of time.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

There you go.

So, adding in things yet like sway… bounce… ?

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Use the new marking system to filter those shots. Assign a “flag” to the shots you want to render and its pretty straightforward after that. Choose the “flagged” shots with the timeline filter and do a right click render all and do remember to choose to render as individual source clips.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Elliott Balsley] “I don’t see the option for “Render timeline as” “

In the Delivery partition:

Render to: (6 options, including Quicktime)
Codec is: numerous options from MPEG to ProRes to DNxHD to Cineform
Then there is frame rate, audio, and a choice of individual clips or a single clip.

You choose the master target directory.

and at the very bottom under Output Options: there are three checkboxes including “Render each clip to a separate directory”.

There are many other options for commercial workflow and multiple outputs.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Create a color generator… white, I guess. Overlay it on the descending spider.
In the Motion tab, crop the left and right hand sides of the picture until it is a “single strand” lined up with the spider’s spinneret, hand or leg or whatever. Animate a “Bottom” crop with keyframes so the line appears from the top of the screen and seems to unreel as the spider descends. This may or may not be convincing depending on how realistic your keyframed descent is.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

A. Aspect ratio has nothing to do with 2:3 field cadence — your problem (one of them) is interlace/progressive.

B. Standard Definition (NTSC) DVDs are all 720×480, but you can flag a 16×9 aspect ratio either in Compressor when you are creating an m2v transport stream, or flag it in DVD Studio Pro. I never use iDVD, and never compress in DVD Studio Pro. I always create m2v and ac3 streams in Compressor and import those into authoring programs (and I lean towards Adobe Encore for that).

853×480 is correct for “square pixels” 16×9 SD. The authoring software is supposed to take care of the anamorphic wide screens with a flag for the timeline.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.