Kevin Hamm
Forum Replies Created
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Yes, your system has lost itself as a usable render cluster. This is a new and fun trick that it’s pulled on me a few times, and the only thing I can find to clear it is a restart, WITHOUT having it relaunch the last windows. Ugly bug.
Kevin Hamm
Video, Web, Print, coloring books, jam and socks. -
Sounds like you your ex-boss is an idiot. Small production companies are run on a shoe-string, I know, I’m in one, but not being able to let you recover from issues means that he’ll never get good work. I know you’ll find something new, you obviously care about what you do. Good luck!
Kevin Hamm
Video, Web, Print, coloring books, jam and socks. -
Ah, ok, now I see what you’re doing. Although I’m not clear on why you’re doing it. I’ve never heard of this use of MM, and kinda want to know if this is really the best option for what you need.
You’re already creating the video-only files in Compressor. Do you then bring them back into FCP? If so, why not create just a new FCP in the folder you output the Compressor files, drag in the media, then save, zip and send that folder?
I was confused because clip names in the finder don’t have to be the same as the clip name in the FCP bin, and I try not to show my bins to my clients, as my naming conventions are a bit *ahem* blue.
Kevin Hamm
Video, Web, Print, coloring books, jam and socks. -
Under the View menu are several settings you’ll want to check. I start with the ever useful “Refresh A/V devices”, and then make sure that Video Playback is set to your deck, and that Audio is set to “Follows Video”.
That usually clears things up, unless I’ve managed to not seat the firewire cable correctly, so check your connections next.
kev~!
Kevin Hamm
Video, Web, Print, coloring books, jam and socks. -
Simple – in the Destinations tab, create a local custom destination and change the naming settings to be just the sequence name (or whatever you want) and the normal file extension, and use that destination for your output. That’s how I get iPhone optimized files without “sequence-H.264 for iPod video and iPhone 640×480” – because really, how is that stuff helpful in the long haul?
kev~!
Kevin Hamm
Video, Web, Print, coloring books, jam and socks. -
Open one of the AutoSave Archive versions of the project you’re having troubles with and see if it’s just that save of the FCP project that’s having problems. Stranger stuff has happened. Also, run with the basics, and repair permissions on your machine.
I’ve had some issues in the past where footage wouldn’t reconnect but I told FCP to ignore the issue and do it anyway, and sometimes it works, sometimes it doesn’t. Not happy news, but there it is.
Hope it clears!
kev~!
Kevin Hamm
Video, Web, Print, coloring books, jam and socks. -
Hey Guys,
I get the same weird banding issue when viewing 1080p footage in it’s native codec, but I tested something and found that if it’d been converted to ProRes422 I don’t get it when doing playbacks from the timeline.
That being said, when I export the final footage, I’m not getting the banding in my output files at all, so I’m pretty sure it’s a FCP issue that just needs some help, but yes, it would be delightful if it gets fixed.
Long way to say you’re not alone, but there it is.
kev~!
Kevin Hamm
Video, Web, Print, coloring books, jam and socks. -
[paul strilka] “Cutting my first project- a live event- shot in EX 1080pHQ.
I captured (log and transfer through FCP) and my sequence is set to same- EXCAM EX 1080p”This could be part of the problem. And actually, when you really get into editing the footage, leaving the rendering set to EX will cause you to have to deal with it’s particular ordering bug, which will cause random rerenders on seemingly unrelated edits. Because of their long GOP there is a trick recommended to do all renders in ProRes422, and if you open the sequence settings (command-0) and go to Render Control, you can change the rendering from “same as sequence” to “ProRes 422 for…” and see the list of codecs you need.
You’ll also want to set this as the standard preference for your system so that going forward, all clips using EXCAM will render to 422. Saves time and brain cells.
I would guess this is what is causing your issues as it was what was causing mine. The GOP is fairly complex and ugly, and long sequences of it drop for me as well, unless I render them out using 422. Which, with the filters you’ve put on, should be needed once you make the change. And ProRes422 plays clean for me.
Hope this helps.
kev~!
Kevin Hamm
Video, Web, Print, coloring books, jam and socks. -
Not knowing which version of FCP you’re using, I’ll cover the basics.
FCP 6 and earlier: From the File Menu choose Export -> Using Compressor. This will send the sequence you have currently selected, wether it’s the timeline window of the sequence at the bottom of the screen that is active, or if it’s the sequence in your project’s bin that you’ve selected.
FCP7: From the File Menu choose Send To -> Compressor. Again, whatever you have selected active is what’s sent to Compressor, so if you need to send out 4 sequences as separate clips, selecting them in the bin and then sending them to Compressor works quite well. Added bonus, once you’ve sent to Compressor, you can continue to edit in FCP.
That help?
Kevin Hamm
Video, Web, Print, coloring books, jam and socks. -
Ok, let me see if I get your workflow for this sequence. You import your EX1’a footage and transcode that to ProRes422, and then drop that multiclip into Video1 of your timeline. Then are you laying the motion project over the 422 in Video track 2, or do you have a fully rendered-with-alpha export from Motion that you’re laying down in Video track 2?
The ProRes 422 and 4444 should stack fine, really.
Have you checked/changed your RT settings (the little button to the left of the playhead timecode counter). Are they consistent between the machines?
Kevin Hamm
Video, Web, Print, coloring books, jam and socks.