[Ken Adolph]

Thanks for the reply. Because we don’t have a 700(we are a post house) I am going to transfer the clips in an XP(32) machine with the PDW and then over the network to the 64 machine.
Clunky, but it should work. Or do this current project in one of our FCP suites. I didn’t want to do this because the Matrox/PPro/64 machine is much more powerful than the FCP suite.

Ken Adolph
Media Group
Editor/Post Supervisor
https://www.mg.ca

[Ken Adolph]

Our workflow is similar to yours. We have a copy of CS4 and it is supposed to import FCP projects but I haven’t been able to make it work. In the past we used Automatic Duck but they have dropped support for Premiere.
We onlined a feature in our Premiere/AxioHD suite last year and used a CMX list.It worked fine but of course did not bring the detail we wanted.

Ken Adolph
Media Group
Editor/Post Supervisor
https://www.mg.ca

[Ken Adolph]

Have you tried to import an FCP xml into windows yet?
I have tried and I get a generic xml error.

Ken Adolph
Media Group
Editor/Post Supervisor
https://www.mg.ca

[Ken Adolph]

Thanks for the reply Troy.
This project will be coming into my suite in about a month. I am just trying to stay ahead of the problems. I have done projects with EDLs from Cinema Tools before but this project is being edited on another NLE which can only output a CMX EDL.
I would like to take advantage of your offer later if that is OK.
Somebody needs to write a Cinema Tools type of software for us other guys.
Thanks

Ken Adolph
Media Group
Editor/Post Supervisor
https://www.mg.ca

[Ken Adolph]

Hi Pat,
I don’t have an 1800 but we have BVW-75, Digibeta and HD decks and we don’t have to stripe the tapes when outputting a project.
Just set the in point in PPro controller(9;59;00;02), set the deck to “preset” and hit the record button in PPro. Remember to set the deck back to “regen” when you want to do an assemble edit.

Ken Adolph
Media Group
Editor/Post Supervisor
https://www.mg.ca

[Ken Adolph]

From years of experience, shooting in NDF is a complicated mess! If your project is for broadcast or anything else except a print to film then DF is the way to go.

On another point I have multiple tapes from a documentary shoot that are DF and the TC is running at “free-run” “time of day” so one tape has hours 9, 10, 11, 12, 13, 14, etc. So your theory that TC starts at 00 on each tape is not correct. Of course this is correct if you are working with DV tapes from a DV camera as the TC on a DV tape is not real TC but a reference from 00.
you can only get real TC on tapes that are DVcam and upwards.

Ken Adolph
Media Group
Editor/Post Supervisor
https://www.mg.ca

[Ken Adolph]

This is where your theory goes wrong!
00;00;00;00 is the zero point where all TC is calculated from and not from the beginning of the tape whether it is hour 7 or hour 23

Ken Adolph
Media Group
Editor/Post Supervisor
https://www.mg.ca

[Ken Adolph]

I totally (100%) agree with Dave!! All TC is calculated from 00 and is not reel specific.

Also, if you do the experiment that you referred to above and use “capture” instead of “off-line” you will notice that the logging of clips works. The problem could be because DV is always DF.

Ken Adolph
Media Group
Editor/Post Supervisor
https://www.mg.ca

[Ken Adolph]

What is the original source footage? DV? HDV? Other?

Ken Adolph
Media Group
Editor/Post Supervisor
https://www.mg.ca

[Ken Adolph]

I don’t know how you can correct the problem of lost TC because of the change to 2.0. However, we work with this offline process all the time. We just dub the HD or SD footage to DVcam with matching TC and capture from there with firewire, etc. You don’t need a capture card to do this.
If you pass the Ppro project from edit station to edit station then the TC remains intact. You can then re-digi at full resolution for the on-line.
We have done this for documentaries, feature films and commercials. We can even import projects edited this way from FCP and Avid.

Ken Adolph
Media Group
Editor/Post Supervisor
https://www.mg.ca