[Laura Creecy]

I’m about to try the same thing on Monday. Any luck with keeping the merged clips?

This was my post over on Reduser, which bounced me over here:

The feature I am on started in FCP7
-Transcodes from RCX to ProresLT 1920×1080
-Logged and sync to dual system sound in FCP7 with PuralEyes and some manual syncing
-Bins organized by scene with the new sync clips, no sequences, no multicam clips

With 3 weeks of shooting down and one week still to go, the editor that was just hired is Avid only.

My questions are:

-What is the best way to transition to MC5.5? Automatic Duck? I’ve watched a couple of help videos but they all start with sequences transferring. I am more worried about all the time I’ve spent logging and syncing to new master clips and the bins transitioning over. Will that stuff transfer? I can deal with logging again, I am more worried about the sync.
-If all the files are ProResLT, will there be any issues when it comes to online and linking back to R3D? I imagine it will be a DPX online because it is heavy in VFX.
-Should I transcode the last week also to ProResLT to keep all the media consistent? Or should I transcode the last week of production to MXF? I don’t particularly want to have mixed media if I can avoid it.
-Any known hiccups in the Automatic Duck transfer I need to know about?

Any workflow issues people may have had doing this before?

OR
Do I throw up my hands and spend 2 weeks retranscoding to MXF and starting over with logging and syncing in MC5.5?

[Laura Creecy]

I have 3 monitors set up with FCP to monitor an unscaled 2K image. I know that it is not color accurate, but all I am doing with this setup is a conform to match the offline image with the online image before the DI.

The new Mac Pros ship with the ATI Radeon HD 5770 which has a DVI port and 2 mini-display ports. After some trail and error and some research on the Apple website, this is my config:

30″ Apple Cinema Display – DVI
20″ Apple Cinema Display – Mini to Dual Link DVI (This is the $100 cable)
25″ Samsung P2570HD HDTV/Monitor – Mini to Dual Link DVI (This is the $100 cable)

According to the Apple website, the only way to get 3 monitors through DVI on the 5770 is to have the dual link connector (aside from the fact that you need the dual link to support resolutions over 1920×1080 anyway).

I use the 20″ for my Browser, the 25″ for my canvas, timeline, viewer, and the 30″ is set to Digital Cinema Desktop Preview – Raw.

It is a really nice set up for what I need right now. I have a Red Rocket card in slot 2, and I dont really do any capturing or laying to tape because I farm it out. I had considered a Kona 3 or a BM card – but the cost of the card and the monitor were just to far out of my budget for what I needed to do and I had already spent the moola on the Red Rocket card. I am sure this is a great low budget solution for offline editing.

The 30″ Apple Cinema Display is rented, but I might consider finding a used one on craigslist, or something else like it if people have other suggestions. Its going to be sad to give it back 🙂

[Laura Creecy]

Right. I want pull down correct?

I will look at those other software, but isnt there an easier way to do this in FCP and compressor?

The offline files were just given to us on a DVD that was ripped to 29.97 DV-NTSC, but the online files are going to be provided on digibeta. I think with our capture card we can introduce the pulldown, but one set of the the offline was conformed (slowed) not converted (pulldown).

[Laura Creecy]

Oops, I meant conform. (Too many projects going on at once)

Am I correct in that if I did the process correctly, and I framed through, that I would see frames missing in the TC burned into the original footage and that the file would not be longer in time length.

[Laura Creecy]

I previously tried to gang the viewer and canvas together and it wont play if there is a sequence loaded in the viewer, only a clip in the viewer. My off the top my head workaround was to export one sequence as a QT clip and reload it in the viewer so it played as a clip, not sequence, but who wants to wait for that to export…

I’ll try the nesting sequences and resizing to only play in the canvas… hoping there was a faster workaround.

[Laura Creecy]

I am working on a RED film and did all my ProRes transcodes through FCP L&T with no transcode or playback issues. I have been running everything so far on my system with no problem.

OSX 10.5.7
FCP 6.0.6
2x 3GHz Quad Core
8GB Ram

The media was split between a internal striped RAID and an external eSATA drive. It played off both drives fine.

The problem is:

The editor’s system has been getting this same green frame problem described randomly during playback in the viewer. We also get some funny playback issues on our external monitor (through kona card) at the same time. Then eventual FCP crash.

The media being used to edit was copied to a eSATA striped RAID tower, which we thought might be a problem for FCP not being able to access the playback fast enough. We also are using 2-stream multicam.

His system is

OSX 10.5.7
FCP 6.0.6
2x 3GHz Quad Core
4GB Ram
Kona 3 card 512mb

Any luck for fixes? I am going to see if we can get 4GB RAM more for his system to start.