[Kai Whittaker]

The pixel aspect ratio of HD 1080i is square as far as I know..

Try using that setting in “interpret footage”.

Kai

[Kai Whittaker]

I still think it’s s serious flaw.

The information for the ‘in’ and ‘out’ timecode should be in the database inside the project file – relative to your sequence. FCPHD should always be able to tell where the original inpoint of the clip was. Based on A. The amount of handle added during the media manage, and B. The amount of handle added during recapture.

I solved the problem by doing a second media manage of my original sequences, and adding the same number of frames I had added in the recapture process. I really don;t think editors should be obliged to ALWAYS use the same numbers.. What if you show some commercial logo in the last second of your shot that would ghet your broadcaster sued? In FCP you’ll have to man ually re-edit the shot if you add more handles in the recapture process than you did in media manager.. It should just wokr based on the timecode!

Then again I learned how to use an AVID Media Composer before I ever used final cut pro, you can;t really compare the two in terms of stability. After using both for the last few years, I agree with Ken Stone.. The media manager has A LOT to learn.

Kai

[Kai Whittaker]

Guess What!

I figured it out.

BEWARE!!!

If you are onlining and you use the media manager to convert youir sequencves to offline sequences.. NEVER CHANGE THE NUMBER OF HANDLE FRAMES between the media manager and the capture tool.

The media manager WILL let you convert you sequences ot offlines, duplicating asll used media, with NO HANDLES.. But if you decide later to add handles using the CAPTURE TOOL… This is what will happen: Your media will be out of sync by the number of frames you add in the capture tool.

I paid for a single incident with an apple tech who wouldn’t tell me where it was in the manual, and refused to let me speak to another tech.. Then he hung up on me when i asked to speak to the manager. He told me – “You should change your workfow”, and “Nobody ever changes shots or adds more media during online”.

This is a serious flaw in the software so be careful if you ever do what I did… ALWAYS make sure you have handles in the media manager when making offline sequences, and use the same number in your capture tool when you online. Don;t ask me where the logic comes from, A FCPHD Pro support tech told me I was wrong to think that the capture tool should behave the same way in offline as in online. He said… “That’s how the software works.”

Watch out for arrogant Apple techs, I though for a second i had been accidentally rerouted to Dell support or something..

HAHA.

Thanks for reading my rant,

Kai

[Kai Whittaker]

The media manager is broken..

I’ve been having the same problems. Unless you’re wokring on a very simple project, the media manager is practically sueless. I have had tro dump all my audio and reimport it as a single track – because if I don’t the media manager makes me digitize all of the video from the audio sources i used, even if the video doesn;t exist on the timeline.

It’s ridiculous. Apple should really do something about it but I think it works in some situations so…

Good luck with your project. Try doing what I did with the audio and it might help. I dunno.

[Kai Whittaker]

As a workaround, if you really can’t afford the duck..

Is to use several EDLs, one for each video layer.

But We usually do that to go from AVID to FCP, I don’t know how well it will work the other way around.

The duck is really the best way to go. And it’s not really very expensive, considering the hassles it will help you avoid!

My two cents.

Kai

[Kai Whittaker]

Tom,

I found your email.. I sent you some stuff to check out. Thanks!

Kai

[Kai Whittaker]

Maybe I’ll try that.

Things are a bit busy here today!

Let me know what your email is, I can’t find it in your profile. You can send me an email.

Thanks,

Kai

[Kai Whittaker]

when you import media into After Effects, it automatically interprets it as non-anamorphic (in my experience)..

Here’s what you do:

Right click on the footage in the project window..

In the menu that appears select ‘interpret footage’, then ‘main’.

In the window that opens, look down at the bottom in the ‘other options’.. it will probably show a pixel aspect ratio of ‘DV/D1 NTSC 0.9’..

you need to change that to ‘DV/D1 NTSC 1.2 (widescreen’)..

that will tell after effects to treat your quicktime movie as anamorphic, or 16:9.

when you load the newly ‘interpreted footage into a 16:9 comp, it will fill the frame.

GOOD LUCK!

[Kai Whittaker]

Yes, the P-JPEG material is still all there.

I have only been testing the ‘online’ with one of the 20 videos (well, 2 since they are in two languages) using the media manager. I’ve gone through the settings in the media manager over and over again. I’ve got no time-remapped clips in my timeline. I just can;t figure out how 6 minutes works out to an hour and a half. I will try to export and EDL or XML of the sequences themselves. It’s just frustrateing to find that the Media manager doesn’t work too well. NExt Time I’ll skip the offline and go online from the start.. Which causes all kinds of other problems with space.

I used an AVID up until 4 years ago. It’s just really frustrating not being able to do the same thing with the media manager as I could do with the media tool in my Media Composer..

Two other questions I had: Is there a consolidate function somewhere in FCP? and is there a way to select ALL mnedia relatives of a sequence in the finder, so that I can reverse the selection and delete the media that is unrelated to my sequence?

If you have any other suggestions I’m listening. Thank you for responding to my issue.

Kai

[Kai Whittaker]

Hi.

I’m working with FCPHD version 5.0.4. I am trying to ‘online’ some HD videos that were edited in SD Photo JPEG. There is a TON of material used to edit/create the 20 videos that will be the final product. I have enough room for about 2 hours of uncompressed 8 bit 1080i60 HD footage on my media drive – which is more than enough considering the 20 videos require about an hour of footage total (the videos are short, and in two languages so they share a lot of material).

The problem I”m having is that when I ask FCPHD to create offline sequences – using the media tool – it tells me I need over an hour and a half of footage to ‘online’ just one of the short videos (I did a test with a 6 minute video). I followed the instructions in the manual. Is there some other info I’m missing?

Thanks,

Kai