[Mads Nybo jørgensen]

Hey David,

I am not sure that Adobe can do multi-track in H264 format, even if wrapped in a .mov file.

Through, sometimes, painful experiences I found out that you are best off setting up a new sequence for multi-channel export.
There is Adobe instructions here:
https://helpx.adobe.com/uk/premiere-pro/using/clips-channels-tracks.html

There is also a slightly older thread on Adobe that might have the answer to your problem:
https://community.adobe.com/t5/premiere-pro-discussions/exporting-8-channel-audio-in-premiere-2018/td-p/10097318

Hope that this helps?

Atb
Mads

[Mads Nybo jørgensen]

Hey Mark,

There are much smarter people on this forum, than me.
But as they are in another time-zone, here is a bit to work with:

A recent thread that you might want to jump on to:
https://creativecow.net/forums/thread/fcp7-to-fcpx/
There is likely to be someone local to you with an old Mac that has FCP7 on it.

And, if the projects can be opened without relinking the media, then it should be easy to export the XML. That should at least give you an “edl” that will link the footage to all of your cuts.

And then this thread that mentions Send to X.
Obviously, if you don’t have the XML, it is for now moot point.
https://creativecow.net/forums/thread/converting-fcp7-to-fcpx-problems/

Although this will not fix your initial problem of recovering project data and link to footage:
If you are not used to edit on FCPX, you should consider moving to Davinci or similar for working with a time-line that feels like FCP7.

Every NLE tool has pros and cons. But if you are “starting over”, now is the time to think about the delivery process for those 10 projects.

Hope that it works out for you.
Do let us know how you solved it?

Atb
Mads

creativecow.net

FCP7 to FCPX - Apple Final Cut Pro X - Creative COW

FCP7 to FCPX - Apple Final Cut Pro X - Creative COW

[Mads Nybo jørgensen]

Hey Mana,

Right Click on Multicam nested file (Windows, will be different on Mac) and select “Open in TimeLine”.

From here you can edit.
You can also copy-and-paste into a Sequence file.
Please be careful, not to mix up what is a Multi-cam file, and what is a sequence, as this might catch you out later…

Hope that this helps?

Atb
Mads

[Mads Nybo jørgensen]

Hey Jonathan,

You’ll want to use “Stretch to Fill”.
Tutorial here for Adobe Media Encoder:
https://helpx.adobe.com/uk/media-encoder/using/export-settings-reference.html

I normally do this in PPro timeline, and then export.

Hope that this helps?

Atb
Mads

[Mads Nybo jørgensen]

Hey Raf,

“Is there a way of knowing if there are duplicated clips between different sequences in different bins?”

That would be a neat trick, but if like me, and you safe multiple versions in your sequence, then you are never going to get through the list inside your project.

Fastest way is to put the final sequences from each editor in to one Sequence, and do your dupe detection on that.

Not least as if there is any, then the haggling will have to start over who will need to replace their clips in their timeline.
Next up, is to watch out where two cameras might have filmed the same scene, but two editors have used different cameras…
This one of those times where machine learning (A.I.) will one day be able to tell you where all the similar clips are “hiding”.

Just a viewpoint, but hope that it helps?

Atb
Mads

[Mads Nybo jørgensen]

Hey Robbie,

Sorry, July has been crazy for me and suddenly nearly 3-weeks goes by before I empty my in-box, and there your reply was “hidden”.

I like the idea of training the A.I. to make workflows more efficient.
As I am sure that you know, when finishing an edit, that is where the real hard work starts on Compliance, Q.C. and various deliverables depending on platform and client, followed by another round of Q.C..

I wonder whether a simple macro like in Excel (called “Action” in Photoshop) could do the job?

It will be interesting to follow what you do at Storylines.
Challenges, as your bigger competitors have found: The cost of Cloud Storage, analysing footage accurately, then edit it, and export to something meaningful to a video file and/or edl/xml for craft edit NLE.
Before you calculate the power usage, which currently is the elephant in the room for A.I.

I would suggest that Storylines sooner, rather than later, put a cost (pricing) on the website for this. Not least as your average “Pro” project rushes can easily range in size from 10GB up to 20TB+.
20TB on Google Drive costs near to 80 GBP a month + then you’ll have processing + the edit.

Granted, that is not likely the market that you are gunning for as a start-up for professional editors.

But as you are mentioning Auto-Multicam and Sports highlights on the site, why not create a plug-in that can work with Broadcast servers and inside the current editing tools?

We have just had the UEFA European Football Championship (won by Spain). The Olympics is starting in Paris next week. For each major event, there is an entire team with their own “truck” dedicated to making highlights and replays whilst the event is going on.

Same goes with conferences, music and other events.

In a short sentence, the business could get killed by cost of storage and uploading before you’ve even started the process of A.I. editing and Post-Production. Unless you sit on top of that, inside the production as it happens, using their servers.

Just a point of view.

But I’ll be eager to take your first full release for a spin.

Atb
Mads

[Mads Nybo jørgensen]

Yes, and as you set out above, you are 0.004 from where you need to be.

480480/30000 = 16,016

I’m a bit confused…

i need somehow to get “480480/30000s” from 00:00:16.02…

Have you followed my suggestion of using SendToX to check if that makes a difference?

As you are Mac based, I would suggest as a test that you take the XML generated from the ffmpeg files and put that through SendToX?
https://www.intelligentassistance.com/sendtox/

Atb
Mads

[Mads Nybo jørgensen]

Hey Dmitriy,

It is fairly straight forward, as you need to land on a full frame.

So your 480,1194 needs to be rounded down to 480 frames.

Or, you need to import the ffmpeg file as is 00:00:16.02 * 29.97

And hope that FCPX on import makes it the same length…

But “converting” the file out to individual frames, is clearly not working on import.

Atb
Mads

[Mads Nybo jørgensen]

Hey Bathinda,

You are doing absolutely fine, just keep going.
Knowledge is what will keep making you better at what you do.

Atb
Mads

[Mads Nybo jørgensen]

Hey Helen,

That is great news.

Although missing files are annoying.
Out of interest, do you transcribe all files on import?

Do come back and let us know if it stays stable?

Atb
Mads