Matt Lyon
Forum Replies Created
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Good tips Gary, but if the OP is using a timecode reader filter, for per-shot timecode, then the Compressor timecode generator won’t do the job.
You can also turn on the frame controls in compressor and set the resize quality to “Fastest” for an additional speed boost.
In the past I’ve worked on shows that use a playback deck connected to a DVD video recorder. Not sure if that is an option here, but those things go for pretty cheap these days…
Matt Lyon
Editor
Toronto -
Thanks Frederic, I’m glad the tutorial was helpful!
best,
Matt -
Hi Frederic,
I wrote a tutorial for how to import audio properly to avoid this problem (you can skip the first section about xml editing)
https://library.creativecow.net/lyon_matt/fixing-fcp-assets/1
If you divide the frame counts of your two reported TRTs, you get 1.001, which as you probably know, is equivalent to the audio pulldown one would apply for telecine workflows. So FCP is trying to add pulldown. Import your audio properly and it will go away.
Hope this helps,
Matt Lyon
Editor
Toronto -
Ah, thanks Alan, that makes sense. I just switched to booting in 32 bit mode, so it makes sense that I only started seeing this message now.
Cheers,
Matt Lyon
Editor
Toronto -
Hey Bob, I’m a little too rusty to help you with your specific code, but…
Have you tried inspecting the source code of the built in timecode generator/timecode reader effects to see how they go about accomplishing this?
Matt Lyon
Editor
Toronto -
Maybe I’m being overly cautious, but I like to keep reel names eight characters or under, for compatibility with EDL limitations.
Otherwise, it’s really a matter of personal preference. My main consideration is how things will sort within FCP.Matt Lyon
Editor
Toronto -
Hi Eugene,
I saw your post and meant to reply sooner … hope it isn’t too late. If I were you I’d talk to an experienced sound mixer or post people at your local film lab, they probably won’t mind giving you some tips.
The way I was taught to break film into reels is to not have ANY sound bleed over the reel breaks. Similarly, you need to be mindful of the sound that occurs at the start of a new reel. If there is a bad changeover in the theater, then the audience might not see and/or hear the first few moments of the reel. So you don’t want anything too important in that section.
Hope this helps,
Matt Lyon
Editor
Toronto -
Hey Kevin,
I just published a tutorial which talks about some media manager issues, and some fixes I found.
https://library.creativecow.net/lyon_matt/fixing-fcp-assets/1
I’m not sure if it will help your specific situation, but it gives some tips on best practices for successful media managing.
Matt Lyon
Editor
Toronto -
Hey Cody, I’m not a Motion expert, so I’m not sure if you can translate keyframing info like that between it and FCP.
My approach would honestly be way more unsophisticated. I’d probably muck about in Final Cut until I got the timing working and approved by the powers that be. Then I’d take note of the start and end frames and the start and end scale and translate settings of the effect and match that in my compositing app of choice. Pan and Zooms usually aren’t very complicated, so re-creating the start and end keys would be pretty fast. Then I’d massage the ease-in and out controls if necessary.
If the effect was more complicated, I might export a reference movie from FCP and overlay that at 50% opacity for matching purposes in my compositing app.
Hope that helps,
Matt Lyon
Editor
Toronto -
Thanks for the followup Cody.
Motion uses better math, so I’m sure it would beat FCP in dealing with both stills and MOVs.
In your situation I would probably work out the timing and scaling of the effects within FCP (for speed) and then do the final renders in Motion or Nuke or After Effects (for quality). It might save you some iteration time.
Matt Lyon
Editor
Toronto