Michael Gissing
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DaVinci Coins
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Forum Replies Created
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“FCS 1 – MBP 2.93ghz 4gb RAM”
Now I’m confused. FCS1 is version 5 FCP not 7. All in all a totally confused post.
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[David Hartnett] “You have probably exported from soundtrack at 48kHz and put that into a 44.1kHz timeline.”
Actually that isn’t likely at all. Show me an Easy Setup with 44.1khz audio.
The important thing we need to know is how much is the sync difference. Try to measure how many frames you need to nudge to resync after exactly one hour so we can work out a percentage. Also search this forum for Jeremy’s often quoted solution to reimporting broadcast wav files that drift sync in FCP. Frame rates, drop/ non drop timecode and mismatched timelines are the common culprits, not sample rates.
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Dragging folders is not a good way to move FCP files. Media Manager will copy the project and relink files. Just dragging will mean reconnecting – a tedious and unnecessary step.
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Does the Panasonic have SDI outputs? If so use them as the picture is digital and the audio embedded.
The easiest thing is to use firewire to capture DV pic & sound
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An OMF can contain clip gain info which ProTools may be misinterpreting. Try exporting the OMF without gain, dissolves panning etc and see if you get a clean import.
I never have this issue with FCP OMFs into Fairlight so there is likely to be an import setting within ProTools that isn’t being correctly set. Gain should be a virtual setting so what happens when the imported OMF has all the clips reset to zero gain?
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Not yet. Who knows after the 64 bit OS Snow Leopard is released. Until then FCP7 is still running on a 32 bit OS and doesn’t properly address all cores as far as I understand.
Perhaps the newest Compressor does?
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I have never understood why people tolerate having the computer with all its noise in the same room. A better investment is remote cables for control and monitoring so the computer gets moved next door. Then a cheap USB mic will do the same thing straight into FCP – no render.
No offence David, but this sounds like searching for usefulness for an expensive phone, rather than addressing the real problem of having a proper monitoring environment free from noises.
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It depends on your workflow, but I have been using FW800 drives to online HDV with render set to ProRes. So no problem running the Prores renders as well as the HDV off FW800 drives. HDV is the same data rate as DV so drives are not an issue.
I work in 25fps so other frame rates may make FW800 marginal for ProRes.
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Although it takes drive space, I would recommend using ProRes files as ‘masters’ given your workflow. It is a very good codec for HDV projects and much smaller than uncompressed which needs a fast RAID to play in real time.
Although it is always best to avoid transcoding between codecs, creating a ProRes master will give you a better result in rendering grades and graphics than staying with HDV codec as it is 10 bit. Also it is full raster (1920 x 1080)
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Standard def uses anamorphic squeeze to stuff a 16:9 image into the 4:3 frame size of SD. So what you are seeing in QT is that squeezed image. FCP is showing you the correct aspect but Qt isn’t.
If you are exporting a QT for others to view, then you can adjust the scaling on export with QT conversion. I recommend downloading a cute little app called aspectRatio 1.8 which will convert anamorphic to normal depending on the SD pixels you are using (ie PAL/NTSC)