[Luke Ogden]

Thanks for the suggestion Jeremy, I’m happy to give it a go, but I have to say it goes against my every instinct. Davinci, Catalyst Browse etc. Can all see/display the sources original timecode, I’d love it if there was a was to retain that through editorial. The multiple instances of non-unique file names also gives me cause for concern.

[Luke Ogden]

Opening the file in QuickTime and bringing up the inspector indicates 50p also, one possible culprit is that I recorded at a shutter of 1/30th, less than should technically possible at 50fps, this was to reduce flicker on some screens in the scene. Is it possible the shutter speed setting overrides the format frame rate?

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[Luke Ogden]

I’m working with the trail of Chronosync to get my backup hard drive pairs synced. So far the software seems intuitive.

Can anyone shed any light on why my old workflow was was “unreliable” or “incomplete”, I’d like to be able to understand why.

Best
Luke

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[Luke Ogden]

Initially I just slowed it down 50%, when I didn’t get the results I wanted I looked into the rate conform options but nothing helped there.

The footage is 50p
The only thing I can think of is that a very low shutter was used in some of it. But I should still be able to see those frames right? albeit with more motion blur than usual.

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[Luke Ogden]

Thanks, I guess I was just trying to emulate the concept of the G-dock with cheaper hardware. Like the StarTech the G-dock also appears to have some kind of hardware RAID 0 capability but I think your right it would be better to do this redundancy with software.

My plan is to reformat my all my RAID’d disk to JBOD like you suggest. Prefixing one ‘Master’ and one ‘Slave’ will allow me to archive everything to the master and then have Chronosync keep the slave sync’d up.

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[Luke Ogden]

Thanks for the input Neil, I had a feeling I wasn’t doing it right. Although doesn’t the G-tech G-Dock ev do the same thing?
anyways food for thought.

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[Luke Ogden]

For what it’s worth I think I’ve found the solution to my workflow problem: a £150 app called Sync-N-Link

I also came across this solution for doing manual synchronising clip-by-clip and keeping things neat:

Once you’ve imported your audio and video clips, sort them so that they’re in descending order by creation date/time. This will mean one of two things- if you’re files were recorded with time of day TC, they’d look like this

VIDEO CLIP1
AUDIO CLIP1
VIDEO CLIP2
AUDIO CLIP2
VIDEO CLIP3
AUDIO CLIP3

If there was no universal reference TC, then the creation date stamp will still list files in the order they were created- in that case, the list would look like this

VIDEO CLIP1
VIDEO CLIP2
VIDEO CLIP3
AUDIO CLIP1
AUDIO CLIP2
AUDIO CLIP3

In either case it makes it relatively easy to pick out what goes with what, baring any extra audio or video clips from false rolls.

Ok, so set your media filter to HIDE REJECTED. Once you’ve done this, select your first audio and video clip and choose the sync command. Once you’ve done this, while the original audio and video clips are still selected, hit the DELETE key. This will mark the two original files you’ve just sync’d as Rejected and hide them from view (note they’re never deleted and can be viewed at any time by changing the Event Filter view).

This means you’re progressively cleaning up your Event as you go, hiding 2 original clips and leaving only the new Sync Clip visible. This is especially helpful when you have LOTS of clips to sync.

To speed up the process, remember that OPTION+COMMAND+G is the keyboard shortcut for creating Sync Clips. Also, I mapped the keyboard so that COMMAND+O is “Open in Timeline”. After you’ve sync’d 2 clips, I always do this to make sure that the audio and video waveforms are lining up.

Remember that if you sync 2 clips and they turn out NOT to be matching items, you can just UNDO back a couple steps to get you back to before you sync’d the clips.

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[Luke Ogden]

The problem I have with doing it as a Multicam is if I want to do a batch of clips (all the clips from one location, scene, day for example) FCPX is going to spit out one long Multi-cam clip.

What I’d like is the clips as they were shot with the, sound recordist’s audio added as discreet channels. They must to this kind of thing all the time if feature film work flows, I just can’t find an efficient way of doing it.

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[Luke Ogden]

[Shane Ross] “Might be a lot better to get a BlackMagic Design product, so that you can output directly to VHS, and have the card downconvert an HD signal if that’s what you are playing out.”

Ok I see, maybe an Intensity Extreme or some such is more the thing I need. By the look of the diagram it has the ability to do what I need it to do. I can be a little less specific as to how I set up the sequence that way too. If I edit in a sequence that matches my source (1080 16:9)how do I tell the blackmagic box to only send the region of that image that a VHS can support (576 4:3)

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[Luke Ogden]

exactly I been on CC for sometime now and haven’t experience the issue again since.

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