[Mark Smith]

Not splitting clips can be a recording format metadata problem. The dv standard was hardly a rigid standard and while i have some tapes where camera starts and stops can be selected and captured, there are probably more exceptions to that rule than I care to think about. Going through the eercise of making a camera archive while time consuming, can also save a bunch of time, wear and tear shuttling tape back and forth.

[Mark Smith]

I’m really happy with Braw and I wish apple would get the F on board with that codec. All apple has to do is look at the numbers of BMD cameras sold recently that use the Braw codec and It would seem to be a no brainer to build support in X.

[Mark Smith]

You’ve got all the right kit. Capturing DV can be a bit fiddly depending on what playback source you are connecting to. You may have to make and break the FW400 connection a few times in order to get things to function. One thing you should consider is using the camera archive option. That will capture the tape to a digital file that can then be used in import media section. The advantage to this is that if all goes well with your archive creation , you have a digital non tape baed version of the file and you can randomly access clips in the Archive when you import media. Tape based media is slow to work with so get ready for a paradigm shift.

[Mark Smith]

I’m ore in the shooting end than post but do some post. THe shooting end is dead for me – everything has been cancelled for the foreseeable future. There is a little bit of post in my pipeline but its for a biz client that has been shutdown along with a lot of other businesses by local order, so that project is in limbo.
I think we’re in a long haul situation at least in the NYC/ northeast . I’m still open for business, but basically zero happening where I am.

[Mark Smith]

Wha? Pulling a stunt like what you described is way out of line

[Mark Smith]

I had a mac mini that was a core duo i7 with 16 gb of ram that did just fine with HD, even in multicam working with proxy files.
Get yourself some reasonable hardware, a 5 year imac 5k and it will carry you farther than you think, plus when you are ready to heave around some heavier files, you won’t automatically need to get another machine…As for upgrading the iMac SSD, ig you go that route. Get the kit from OWC and follow their video tutorial ita. Pretty simple upgrade – took me about 45 minutes and the switch from fusion drive to SSD is quite noticeable .

[Mark Smith]

I’d go for a 5 K imac 2015 & up . You can add in an SSD drive ( I did on my 5K , its not very hard) max the ram adn you’d be good to go. I have an older 5k Imac with TB, maxed ram, and an SSD drive which handles 4 K C300 Footage , BMPC 4k footage in Resolve without problems. Its not the fastest machine, but it get s the job done and its very reliable.

[Mark Smith]

I don’t get it. THe vimeo link goes to a blank page for me….

[Mark Smith]

I’m going to add one other note to this thread in closing. What made this work around super easy was that the BMPC 4K records audio even in off speed frame rates which is unusual in the camera world. So retiming the video to the exact length of the audio to a matter of seconds . If it had been necessary to sync up dual system audio with a retimed MOS piece of video, it could have been done but certainly that would have been a more time consuming fiddly project.

[Mark Smith]

So here’s my workaround to my self created problem.
1) new project in library
2) place 60fps clip in that project
3) detach audio
4) match up last frame of video with end of detach clip audio
5) export that project
6) Import retimed clip with audio.

The sync is very very close, if not perfect. Certainly good enough to work with for my needs.

If some one has a 2 click method to solve the same problem I’m open to that, however this was easy enough. I first tried solving the problem in Resolve and it proved the concept, and then repeated the process in FCP project.