Josh Olenslager
Forum Replies Created
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We’ve imported logging data this way as batch lists. Not the most complete data sets, but if your column headers match the FCP headers, you can get basic TC and reel data in place.
Josh
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Hey Josh —
do your files have movie attachments showing? I’ve run into a similar problem in the past; unfortunately, sometimes the clips were just corrupted. Other times, however, when I’ve added the file type (.mov), it’s solved the problem. –Did you media manage the files onto the drive? Just curious if you pushed them manually or let FCP do the work for you.Hope it’s a simple fix.
Josh
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Hi David,
1440×1080 is a typical HD space for 50i — DVCPro1080i50 and also HDV in PAL I think. How did they deliver the file, and is it supposed to go back out to DV cam? I only mention this because if they want the highest resolution possible, that’d be in HD based on what you’ve said. If it is a disk or DVcam, you might try a typical 16:9 frame size (864×486 for NTSC or 1024×576 for PAL). That might solve your crash problem. I’m not sure about PAL disks in MAC drives, but I think I’ve seen it work. Been a while since I’ve touched anything PAL. You’re right that you’ll probably need to move to NTSC to put back onto DVcam, or see if you can adjust the deck itself to accept the PAL sequence. But I’d personally start by contacting your end client to make sure you have the delivery specs down, and explaining the type of file you’re working with.
Good sailing!
Josh
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Hey Martin–
Not sure exactly what is happening, but the same thing happened when we upgraded our systems to FCP 7 late last year. I left it to the IT department, but I believe it was associated to shared clusters (Q-master maybe??). When my FCP ghost launched the program, I tracked it back to an unrelated system on the network. I think maybe the upgrade just got the cluster set-up out of whack. Not sure if you’ve got that set up, but if you do it might be a place to start.
Josh
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Anna,
Entshuldigan für die schrekliche Deutsch–die ProRes ist einen güten Idee, und die H264 sind auch schöne. Aber wenn man ist ein disk zu machen, dann vieleicht mit Compressor exportiere. Ben sagt zu ProRes von diener QT export zu machen (von den 7GB Bild). Das ist auch einen güt Idee.
Josh
The umlaut shortcut is option+u and then whatever vowel you want to put it over-top.
Josh
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Hey, no worries about the help. That’s sort of what these types of communities are for. Sorry that I didn’t mention that FCP 5 didn’t have deep support for DVCPRO HD–that came more in 6 I think. (I learned on 5, but didn’t get into HD stuff until I was already running 6, so it didn’t cross my mind.) There should be a good set of codecs to choose from, so hopefully you’ll find something that you can work in.
Good luck!
Josh
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I believe that DVCPRO HD comes included in FCP packages–but it sounds like if you have that specific file in your QT library, it should work.–someone should correct me if I’m wrong. There might be separate plugins for the different DVCPRO HD codes (1080i60, 1080p24). I’m not exactly sure how their packages work. However, what software are you editing on? If you have FCP, it should work. Some other software, probably won’t. Hopefully you won’t need to re-transfer the footage.
Josh
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Sounds like a codec issue Denton. When you open the movie in QT, look at the info pane. It should tell you what codec the footage is — mov is a wrapper, just like mxf is a wrapper. You’ll probably just need to download a plugin and drop it in your QT library. Depending on the actual codec of the media, it should be pretty easy to find one.
Best luck.
Josh
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Hey Sean,
If I understand correctly, you have a full telecined master with a dissolve from a black sky to a building? I know this could cause other problems, but have you tried blading the clip right before the weird shift happens? It seems like you might want to try to smoothcam the two segments of the clip separately, or even better, just the part that really needs it. Doing it this way might take some of the unusual shift out of the piece that you really want smoothed (as the smoothcam analysis will start from that point rather than trying to gather everything back into line when the building appears) — and it’ll take less time to analyze to boot. I know there’s a chance that this throws some of the timing of the dissolve or whatever is happening as the sky and the building meet, but with some creative matte work and some patience, you could probably smooth any issue you have between the two shots pretty well.
–Anyhow, I hope I understand what you’re talking about, or the tip helps you out.
Josh
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I always use the pen-tool and opacity when fading in from empty tracks. I’ve occasionally seen what you’re describing in the crossfade/dissolve presets–sometimes it was related to mixed format footage (and depending on the timeline settings the fade could be strained). Sometimes I’ve just thought it was a glitch. Anyway, try setting your fade using the opacity w/keyframes. It’s worked for me.
Josh