[Kris Merkel]

OK, try this.

In your timeline, cmnd+a to select all the clips (assuming there is nothing in your timeline except video)

right click or cmnd+click and select from the pulldown “Capture” this will open L&T and you will be prompted to make a choice. once you choose you will have to point L&T to the copy of the card you made before you started to capture your files.

You didn’t make a copy of the card you say, well then use the original card. No original card either… well you could go re-shoot the wedding.

All joking aside this should get you started. good luck

[Kris Merkel]

I’m a big fan of Pluraleyes to resync. I have not yet had the need to recapture footage using L&T so I don’t have a workflow handy. I’m doing a test now as I wait for compressor to pop my toast up.

[Kris Merkel]

A control track is what the conductor uses to control the Orchestra, Right?

For the OP. Invest in Pluraleys, recapture your HDV tape and transcode to prores while you are at it.

Load the media from both DV and Prores into the same timeline, follow the directions from pluraleys to sync your footage.

then ditch the DV clips and save as a new sequence.

[Kris Merkel]

Also Shift+Z will work to resize your video in the canvas and Viewer to “Fit to Window” size.

If you are really adventurous and would like to keep your hand of your mouse (or pen in my case). Instead of using the z marquee.

cmnd+D = deselect any highlighted clip (i think you will have to map that one)

cmnd+ Plus = zoom in on selected region or at the playhead if nothing is selected

cmnd+ minus = zoom out

Very quick timeline navigation without leaving the keyboard.

[Kris Merkel]

You could also try to import the files directly into the browser and place them on the timeline. You will probably not get full quality preview, but you can start to edit while you are transcoding in L&T.

Be sure to click yes when you are prompted to match the Seq. setting to the clip settings.

[Kris Merkel]

My guess is that the OP is referring to the Apple Intermediate Codec. This codec was sort of a stopgap codec developed for HDV transcoding for those who did not want to jump through hoops to transcode their footage into an I frame codec such as DVCPro50.

For now it is a lossy legacy codec and should not be used in lieu of ProRes.

If you are using the EOS plugin for L&T you should set your prefs to transcode your files directly to your ProRes flavor of choice.

[Kris Merkel]

There is no “one size fits all” when dealing with optimizing your footage for playback in any heavily compressed format.

The “settings” are only starting points that need to be adjusted for your particular video elements. I agree with the previous poster that by turning on your frame controls and playing with the settings there is a great place to start.

You are essentially resizing a 16×9 image to fit into a 4×3 frame and maintain the correct aspect ratio without losing to much quality.

Take a small 10sec sample of your footage and keep tweaking the settings until you get something that looks ” pretty good”

[Kris Merkel]

Oh, the good ol’ days of striping SMTPE timecode to track 24 on the 2″ Otari deck. Oops wrong forum. Most video peeps do not know that timecode can be generated as an analog signal nor that this was “the” method of slaving the 4 channel protools, ADAT’s, console automation ect to the master analog clock.

[Kris Merkel]

Open your transcoded footage in quicktime. How do they look? Smooth or Jaggy? Have you tried exporting a small 10 sec piece before sending it to color?

It sounds to me, as mentioned earlier, that the footage is scaling wrong or your settings or mismatch your footage.

[Kris Merkel]

Thanks for the tip. I did find the answer shortly after posting in the FCP forum. The VTR Xchange works well. I was able to get the camera early this afternoon and do some tests. AJA rocks.