[Matthew Skeris]

Thanks again, Martin.

I was wondering if it is possible to set FCP’s playhead Pre-Roll (not sure what it’s called in FCP)to a very very low setting, say 1 or 2 frames. The idea being that a 1-frame ripple quickly followed by a this super-short Pre-Roll might emulate what I’m after- a kind of dynamic trim with audio feedback. I don’t have FCP yet, so I can’t try it.

[Matthew Skeris]

re: audio & multiple clip trimming capabilities in FCP.

https://www.2-popforums.com/forums/showthread.php?t=97018&highlight=trim+slip

https://www.2-popforums.com/forums/showthread.php?t=72716&highlight=trim+slide

I’m used to Slipping and Sliding muliple clips with the mouse, but it seems from the posts I’ve read that these kinds of trims can only be done with keypad entries. Is that true? I hope there’s another way, one with as-you-trim audio monioring.

[Matthew Skeris]

This is a question I have as well. On my current software, I am used to hearing ALL track sound during trimming (umless I solo my choice of any tracks while in trim mode). Is this possible in FCP?

Matthew

[Matthew Skeris]

Thanks for replying, Martin. Just to clarify, do I need to be in FCP’s Trim window mode (Command-7) in order to have use of the J-K-L keys for dynamic trimming with sound?

On another front, are there any limitations to Trim mode I should be aware of? For instance, on a different NLE, when I work with multiple cam interviews (shot w / 2 track mono sound), I sometimes lift out the off-mic sound completely from either A1 or A2, leaving nothing (aka Filler)on the timeline. I read some posts* in the archive here that seem to indicate that Filler was not ripple-able in conjunction with other clips during trim- is that correct?

* https://forums.creativecow.net/forums_search.php?q=dynamic+trim&f=8

Matthew

p.s. thanks for your website, too.

[Matthew Skeris]

Thanks for a such an informative article- wow! I don’t use FCP or want to at this time, but you explained the general issues involving HDV technology perfectly for me.

Matt

p.s. so what is now your primary editing tool?

[Matthew Skeris]

“it has to re-build a transport stream (M2t) by compressing it again”

OK Erik- well if we’re compressing again to make an Avid-exportable m2t file I’d guess that I’m better off avoiding the m2t-toMXF-to m2t
compression when I can apparently just move the original m2t off the original HDV tape and copy to another. I’m going to take my clone file
from HDVSplit and DNxHD it and try to compare it with the same from the Avid capture that I also DNxHD’d.

I wish I had budget for the Sony HDV vtr, but not likely unless I rent. If I need TC to match, I’m getting used to the idea of copying the Avid MXF + wav captures to DVD. I *think* that preserves my TC, too.

Thanks again for your help.

[Matthew Skeris]

“I guess I can try it myself and see if it works. That HDVSplit program is one I’m familiar with.”

I just did- “HDV Split” makes an m2t file in realtime that XPro can then “Export to HDV Device” also in realtime back to my HDV Camcorder. I don’t see a quality drop, I’ll leave that to the experts.

[Matthew Skeris]

Thanks, Joe & Erik- yes, i want to make a backup clone of my raw HDV footage and I thought I could do it to HDV tape. But I’m now learning that there are big differences between DV and HDV tape despite their common cassette size. When DV came on the scene it was also called an “aquisition format” as I recall. However, when a DV tape was captured into Avid and no effects were added, it was said that the firewire output recorded back onto even a cheap firewire camera would be a digital clone (all except for TC). Now with HDV, I *think* that notion is gone and that’s what I want to understand better.

My deliverables for completed projects will run the gamut from DNxHD’d transcoded media (destined for a finishing suite with vtrs galore) to SD DVD’s made directly from either the Avid XPro firewire or perhaps from an HDV tape used to record it.

But even if I do one of these incredibly long renders on, for example, a one hour program, when I export that m2t file back onto HDV tape it seems it will have taken another quality “hit” despite that long render. Is this correct?

Erik- you are correct. My thought was: “why render for 5 hours if I can just re-capture via firewire with a different tool in order to create an m2t file in real-time” (non-matching TC) especially if that m2t file can be used as an Export file by Avid to export to an HDV tape as a backup? I guess I can try it myself and see if it works. That HDVSplit program is one I’m familiar with.

I’m still interested to know if Avid-created MXFs and associated wav audio is a format that imports into FCP.

Thanks again.

[Matthew Skeris]

I was patiently waiting for a reply, but this post is moving out of view. OK, forget v5.2- does the very latest version of XProHD have any problems whatsoever with imported 24P movie files?
Hey, heavy hitters here– please take a whack at this one! Thanks.

[Matthew Skeris]

You are right, the HD 145 codec was available in AE’s QT render options. That same 40sec, 7GB avi rendered as 1.1GB. Import to Avid went from 18mins to 12.

The clip from QT played in an hdv Project without trouble; the Avi-imported clip produced those choppy red marks. I could’nt really see the difference in quality, so I’m interested. Thanks for your input, Erik. I think I can ease up on the follow questions….:)