[Michael Nichols]

Thanks. I figured the K3 was my only choice.

I know it isn’t 2K, but that is the resolution from the 3k to 2k arriscan for my 2 perf 35mm. 2-perf only uses Academy Aperture width since Full Aperture gives you a 2.66 : 1 aspect ratio. Full Aperture 35mm scans at 2K are 2046 pixels across, whereas using only Academy width are 1828 pixels across

[Michael Nichols]

Did you use merged clips in your original sequence? And did you then move data around OUTSIDE of media manager?

[Michael Nichols]

I figured out (kind of) the problem. Apparently, I went about things all wrong in my DPX “conform.” When I generated my offline edit from the DVCAM dailies, I sent the EDL to the post house and had my scans done. When I got the scans back, I imported the EDL into FCP and reconnected the offline files to the corresponding DPX stacks. The timecode matched and the files reconnected! However, there are over 1100 edits. FCP is freaking out and is choking a lot. It also takes me a good 10 minutes to start the app up. The “Preparing Video for Display” progress bar takes about 7 minutes to get the project ready. Instead, I imported all 3.5 hours of scans into a new project, dropped them into a sequence and let it play and I got through 2+ hours without a dropped frame. Clearly, my “reconnect time saver” did nothing but delay me 2 weeks.

[Michael Nichols]

OS and FCP are up to date, but you bring an interesting point. I have my window set to “Fit to Window.” I will bring it down to 25% and leave it at that.

Thanks!

[Michael Nichols]

Thanks Kevin.

I actually have Gluetools and am getting playback. But the playback is choking when I know I have the speeds for 2 streams!

[Michael Nichols]

That was a typo. My FRAMES are 5.6mb. I have 2K scans of 2 perf, so the pixel dimensions are 1868 x 780, not 2048 x 1156.

[Michael Nichols]

I am assuming the fact that I shot with 2 perf 35mm has something to do with the odd frame size. What I was told by the scanner was that he used the marquee tool to define the scan area and that is how we got to the size of 1868 x 780. I don’t actually see the perforation, just about 1 or 2 pixels width of the edge. He said that it isn’t 2048 because the area on the negative where the optical track would be is empty.

[Michael Nichols]

Here’s an update:

I imported my EDL into FCP. I took a folder with my DPX stacks and laid them out sequentially in a sequence and exported a reference movie and named the file with the same name as a filename in my EDL, hoping a simple reconnect would solve my problem. No go. Didn’t work. So, what I did was the following:

In my offline sequence, which refers to back to my original cuts and lab rolls, I selected each clip and made it independent. Then, one by one, I reconnected each edit with the corresponding DPX sequence. Thanks to the wonders of timecode, this is working! Sure, it’s tedious, and it anyone else has a better solution, I am all ears, but this seems to be working fine for me.

[Michael Nichols]

I guess I am a little lost then. It seems I can’t save DPX files out of photoshop. What to do next?

[Michael Nichols]

That sounds most logical. I called the house and they might rescan them for me. However, I have stacks that are full aperture 4 perf that I have to extract 2.35 from, so I need a solution regardless. I am thinking this is where a photoshop batch would work well.