Matt Doe
Forum Replies Created
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With nothing selected in your bin, use File>Export>XML.
The next window will give you a tally at the top of what will be contained in the XML.
If you wanted to be more selective, you could highlight just the sequences you want and export an XML containing those selected.
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I run into this a handful of times a year. The only way around it that I’ve found is what you’ve done. Copy and paste your entire timeline into a new project and sequence and export from there.
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The problem stems from the different codecs in your timeline, I’m guessing there are probably some h.264s and possibly some divx files in there.
What are your sequence settings? How are you exporting?
If you can export your timeline in chunks, you can rebuild it in another sequence using those new chunks to create one larger quicktime.
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If the majority of your footage is going to be 1080p, I would stick with a 1080p timeline and scale up the 720p footage.
You will get much better results shooting 720/60p and conforming that to slo-mo than you ever will using Twixtor to slow down the 24p footage.
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Do you have the rendered media from Resolve to link to? Did they create a new XML from Resolve? Maybe they sent you the wrong XML file.
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When you render in Resolve, you need to render with handles (extra material on the head and tail of your shot). There is an option to turn on in the Delivery page inside of Resolve.
When you import that XML from Resolve, you will have ability to extend/slip shots in the timeline; up to the amount of handles that were rendered.
I usually render 15 frame handles; but you may need more depending on how much you need to tweak the edit.
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The only way I know to fix that is to copy and paste from the 23.98 sequence into a new 29.97 sequence.
Yes, the edits/clips will be out of whack, but you’ll just have to go through and adjust the edits to get it back to how you intended.
There is no quick/easy fix for this that I am aware of.
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I suppose I should have phrased my “small sized projects” comment more as a question, my apologies.
We did a large facility upgrade about 2 years ago, at the time I was asked how much storage we should ask for. I (only slightly) jokingly said “ask for a petabyte and work your way down.” We ended up with 150TB, and what I’d give to have that extra 150 on top.
We are still primarily a tape based offline/online production company (80/20, tape to file based). As is always the case, everyone always wants their footage ingested in some impossible amount of time. For shows not shooting TOD code, we end up digitizing the entire tape as one long clip usually (DVCPro HD anyway, HDV we do in roughly 10 minute chunks). That’s where my objection to digitizing the whole clip came from, as we rarely are given the time to log into clips before we digitize.
For TOD coded tapes, we let FCP do the work and create new clips at each timecode break. Will have to do some tests with our current workflow and see if your method of the whole clip allows for faster changes in the off chance they come in after pix lock; and what amount of time it adds to the uprez process for us.
It’s funny that no matter what your workflow is, all it takes is one or two “little changes” from the network to throw it all out the window. Also, how one workflow can seem so familiar and easy, and how another can seem so foreign.
Oh the choices…
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I struggle to see the advantage of uprez’ing the entire clip for each shot, as opposed to just the clip with a few seconds of handles.
You might save time on the backend with changes, if they happen to pull from something that is not contained in your handles. But, having 30 DVCPro tapes to uprez per show, that’s easily 10 hours of footage per show just in case things are changed. Multiply that out over the course of a 6-12 episode season, and there goes any time savings and then tack on the cost of having a SAN large enough to store all that excess high rez media.
Your workflow seems like a good idea for short pieces, but on a larger scale, I don’t see the advantage. You’ll end up spending more time uprez’ing the media, before you could even start your online edit, than you would figuring out where the changes were made.
At that rate, you are better of fighting for enough SAN space to be able to cut the show in HD from the start.
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I agree with Shane, if you can get them to wait, you’ll save yourself boat loads of time.
Ran into a similar situation some time ago, I had started the online and changes came in. It was faster to re-uprez the entire 44 minute show, than it would have to go through and adjust for the changes they made to the “pix locked” offline sequence.
If there are only going to be a few changes, in my case the series I am doing now has lots of stock footage coming and going; I have the offline editor place the new footage on the top most video track. That way I can clearly see when looking at the entire sequence where all the changes/new material is located.