[Lisa Rolley]

Sorry i forgot to mention something very important – this is not for broadcast – its going to be projected

[Lisa Rolley]

they client requested upper fields so i have to deliver that – not sure i understand everything you were saying either. thank you for the response i will continue to work while hopefully a solution is decided upon
thanks
lisa

[Lisa Rolley]

I did install this too and but i still get the error message when i launch transfer or do it through FCP – any other suggestions??

[Lisa Rolley]

well i have used both methods and i am sick of this – it seems crazy to me that apple and fcp dont have a fix – i also really want to know WHY this happens.

thanks everyone for your time and hopefully we’ll get some answers

best

lara

[Lisa Rolley]

so with that camera is there in fact a way to shoot at a high speed frame rate?
I have used the P2 from Panasonic and for example you can shoot 720p60 which exports sequences with a 59.94 frame rate.

thanks for any help people can provide – again i am new to the sony xdcam format.

thanks

lisa

[Lisa Rolley]

i have fcp 6.0.3 and i downloaded the lateest xdcam transfer software

[Lisa Rolley]

Ok so i followed your advice and i get the same message that i was getting before that is: File Attribute Mismatch – i dont understand what i am doing wrong but the files have the same names – one folder is pro res athe other is full res (mostly 10 bit uncompressed mixed with None, 8 bit and animation as well)

I dont understand how to do this please anyone can you tell me what to do?

thanks

Lisa

[Lisa Rolley]

i am not sure i understand entorely how to execute what you describe – i do notice a loss in quality in a few of the videos and the originals look better on those so i figure why not just use the originals and replace the ProRes clips

can u possibly dumb it down a little bit for me

thanks for replying i really appreciate your help

best
Lisa

[Lisa Rolley]

Hey there

yeah so The final spot IS what will go first on the tape followed by all the matte and fill pieces which run throughout the spot – bumpers, trasnitions, etc… so the actual use of a travel matte and the whole process of bringing in the elements from the AE designers is the part I have need help with.

I am just the editor so the AE guys are saying that they can give me tiff sequences or animation qt’s both will have the alpha info when needed. I need help with bringing in the mattes & fills and setting them up properly on the timeline – i know to put each individual piece a minute apart starting with the whole spot at the first minute.

any help you can give me would be great – i treid searching for this online elsewhere but did not find any good articles or threads. Hope you enjoyed your travels and i look forward to hearing your repsonse – I hope this even made sense : )

thanks

Lisa

[Lisa Rolley]

Hey there sir

thank you for getting back to me – so to answer your questions…it is a 30 second spot and of course i will lay off at solid minutes each elements starting with the whole spot first at 1 hour…then i have bumpers interstitials, lower thords, open, backplates, mortis, etc.. to be layed off after that.

I really have never done this and need to know how to import and exactly how to prepare this stuff on the time line (not in terms of the fact that it needs to be at 2, 3, 4 minute marks to separate each individual thing) for digi layoff. I understand how to structure my sequence with different slates in front of each element – my questions are about for example: do i bring in all the mattes as animation qt’s from AE designers and just put them on the timeline or do i need to fiddle around with it (Apple 9) or by using composite modes?

Maybe i am not making sense here so i am sorry if that is the case but again i know how to organize a sequence with slates and tone etc what i need help with is exactly how to do mattes & fills on import and assembly in the timeline.

thanks

best

Lisa