[Justin Lewis]

Thanks for the reply Dennis.

I’m in FCP – you said to convert to prorez first, then edit. Would it be ok to just set up a prorez timeline, then drop the different formats in as they are, so it will render out it prorez, or do I really need to convert all the clips first?

[Justin Lewis]

Thanks Michael for the above, and again to all of you for feedback. Perhaps some of you cahn help me with the final hurdle?

OK – the situation isn’t as bad as I thought it would be, but I’m a bit confused with the exact process for reconnecting in this instance.

I have all the original P2 files on another drive – great. When I launch log and transfer and select any of the files I need – the metadata i created with them (scene names and notes etc – ie the same file names as what’s missing) is all there – great.

Now, if I start transferring, the files appear in the browser as they usually do when you’re starting from the beginning. But – they are obviously “duplicates” (in name only of course) to the files that are sitting in their bins but market in red as missing.

I can see I’m so close – but can’t get my head around which way to do this? What is the process to re-transfer all the missing files back in, then re-connect them so they are recognized again. Do I bring them all in, then “trash” the red “missing file names, and fcp will recognize the new connected ones – or do something different? I stress again – the files coming in again are identically named.

[Justin Lewis]

Thanks everyone for your replies.

As has been pointed out, looks like the safest way is to recapture from the P2 files. Still so much work to rename them all correctly as they go in!

Fortunately the project is a documentary/travelogue format and so the bins were created around a linear time structure (day1 morning, day1 afternoon etc etc). At least I can easily match these up sequentially with the P2 folders and see which (most!!) of the offline files need recapturing – would have been much harder to find things if hadn’t been organized in bins this way.

Still – a lot of grunt work for yours truly over next couple of days.

Incidentally, I’m still wondering how this first happened. Somehow during the L&T process, FCP had created 2 different capture scratch folders on the HD, with about half the project files going into each. I had been making backups of the capture scratch, and original P2 files to go on separate drives. Not realizing there were 2 different scratch folders – i only backed up the first one I saw. Later, when I saw the other one I made the fateful mistake of assuming another copy had been made and left on the drive, so trashed it to clean up and save space. The folder size was so similar I didn’t consider it could be different!

Anyway my bad obviously, but my question is – why/how did FCP create another capture scratch folder during the L&T process?

[Justin Lewis]

Thanks Noah! That’s great.

Produce – Shoot – Edit.
DVX100a. MacBook Pro 2.5Ghz, 4gbRAM. FCS2.

[Justin Lewis]

Hey Noah,

What should field dominance be set to in sequence settings for this footage (25P)? – Lower/even, or none?

If set to none – what will that do to the bits of interlaced footage brought into the timeline?

Cheers,

J

Produce – Shoot – Edit.
DVX100a. MacBook Pro 2.5Ghz, 4gbRAM. FCS2.

[Justin Lewis]

Thanks Rafael,

When you say check the footage as none – do you mean in the capture settings? Other than selecting an easy set up for the camera (in this case DVX_Anamorpic PAL – is there something else to check on capture? (in frame rate should it be “all” or 25fps?

This is separate to the sequence settings where you’re saying select field dominance-none.

Also – if part of the footage is 50i, will this sequence automatically de-interlace, or is it better to de-interlace that footage first, then import it? I read somewhere it may be better quality doing it that way.

Thanks again for your help

Justin

Produce – Shoot – Edit.
DVX100a. MacBook Pro 2.5Ghz, 4gbRAM. FCS2.

[Justin Lewis]

Thanks William.

OK think I’m across the capture setup now.

Next problem – sequence settings. If its DV 25p – do I leave field dominance set as lower/even, or change it to None/progressive.

Everything I’ve read on the net contradicts everything else. I can’t find a definitive answer!

Produce – Shoot – Edit.
DVX100a. MacBook Pro 2.5Ghz, 4gbRAM. FCS2.

[Justin Lewis]

Re Dig – Noooooooo!!!!! (voice and action slow down to super slo mo….)

Alright, well lesson learnt. Thanks so much for your help – really appreciated.

I presume the DV PAL Anamorphic setting is for all other DV camera shot with ana? Why is the DVX different / warrants it’s own setting?

Produce – Shoot – Edit.
DVX100a. MacBook Pro 2.5Ghz, 4gbRAM. FCS2.

[Justin Lewis]

Ah – Noah – Thanks for this mate, and may I say I’ve enjoyed reading a lot of your contributions over time, and will be purchasing some of your guides.

Still can’t make the last lot of footage (the only one I correctly set up as DVX Anamorphic) play back – any ideas? Should I (oh please no!) just start again and re-dig all my footage back in set up with DVX Anamorphic?

And out of curiosity – what is the difference between the 2 different set ups?

Thanks again for your help.

Produce – Shoot – Edit.
DVX100a. MacBook Pro 2.5Ghz, 4gbRAM. FCS2.