Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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[Mike Petty] “Small price for making my clients in the WIndows world happy.”
Go crazy! After all they only have 90% market share.
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What OS are you running?
My understanding is that you don’t need to install the originals to then upgrade. I would try a clean install of the OS and then install the FCS2 upgrade.
The upgrades are fully installable – you just need the original serial numbers from the original version
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So what you export is not the same files they need to link to. Neither OMF, XML or AAF are much use. What you need is a way of linking multiple files to your edit guide.
Hate to say it Ken, but I would be using EDLs because I can manipulate them to map one file to the multi tracks that were used to make your mixdown.
Critical to everything is to make sure the audio files have matching timecode AND reel numbers.
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I am not sure if I understand your workflow Ken. Are you recutting after a sound mix?
Also what audio system are the mix studio working on. I am guessing that they need to reconform a finished mixed project with your recut but can you clarify this a bit more please.
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If the original media is gone, then the ref Qt must be finding a mixdown file or render file perhaps. I didn’t think reference Qts save the audio as a separate file but if you are hearing it intact in finder then the file must be there somewhere. It is likely the audio file is somewhere in a render folder with a useless name which, if you can find it, should be loadable directly into Quicktime Pro
As Quicktime player isn’t loading it, an alternative is to try VLC which is a free clever media player that might just let you play the audio without the video. If it does then it has the functionality to export like Quicktime Pro so you should be able to save the audio as an aif.
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If you are capturing on a deck that can display a timecode over image, then patch that to your external monitor while you capture.
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An OMFI will carry the clip name. If that differs from the file name then yes, you lose the connection. But an OMFI embeds the audio so it will not link to the original media. Why specifically do you want this?
Automatic Duck does a more sophisticated export of a FCP timeline and may contain that metadata when transferring to Pro Tools. Fairlight now imports FCP XML files directly and they link automatically to the original files, providing the media is network shared. Fairlights run on a WinXP platform so sharing Mac connected drives is a bit complicated.
If you run MacDrive on the Win XP machine you should be able to connect an external Mac formatted drive with the original files on it.
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A quick search of this forum showed this error has happened on Kona and Decklink cards and seems to be caused by more than one factor. It is a typically useless error message that basically can mean there is a frame rate mismatch between the deck and the sequence or there may be a corruption in the file. It probably pops up on other occasions as well. I suspect the AJA tech support may know more and be more responsive than Apple so go with David’s suggestion.
Making a new file is probably fixing a corruption. It is also not ProRess4444 specific as people report this message on a variety of codecs and frame rates.
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Speed effects yes. Multicam? don’t know. Stills- no. A recent job with a bunch of jpegs at various res (but all higher than the sequence) and with moves didn’t import in the send to Color.
Perhaps stills that match the pixel aspect of the sequence and without keyframe moves might work but hey, how often do you find them in the timeline?
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Stills are not round tripping in Color. I have been using HDV and ProRes codecs without issues except ProRes444 on a 2k job returned to FCP with slightly different gamma. Other codecs have been fine.
It is a good way to change HDV 1440 to ProRes 1920 when rendering out of Color. It seems to be happy with the 1440 to 1920 conversion. All my HDV jobs have been interlaced and no issues there with the round tripping either.
It is still a good idea to create a flattened timeline and move graphics & stills out before going to Color. I left dissolves in which don’t display in Color but return with the send to FCP. Third party plugins & tarnsitions may not fair well in a round trip however.