[Mitch Jacobson]

David, Faster drives will do it. Or, you could also batch export ProRes Proxy versions of the clips for SD frame size and cut with those. That should get your bit rate down to about 5-6 MB/sec. per clip with an aggregate bit rate of about 20 MB/sec for 4 clips.

To finish, reconnect your locked picture to the HD files and compress from there.

Good luck.

Mitch Jacobson
Producer/Editor: Avid & FCP
New York City

[Mitch Jacobson]

Thanks, Michael but we are on 7.0.1 and have been since it came out. The only changes to 7.01 that were made was the DesktopVideoOut.component bug fix. Otherwise we must still have the bug.

Mitch

Mitch Jacobson
Producer/Editor: Avid & FCP
New York City

[Mitch Jacobson]

Chris, Yes you need more bandwidth to support that amount of angles. Here is a workaround:

You may want to make a set of transcoded files for multiclip editing. You can point back to your hirez files at any time.

Simply batch export all the angles and pick a low data rate codec with the same frame size and frame rate as your masters. ProRes (proxy) works great. Once you have a new transcoded set of files, reconnect your original clips or sequence to the proxy files and edit away. You should be able to get 11 angles to play down on a firewire drive at proxy SD mode. Then whenever you want to playback or output or finish, reconnect to the original hirez files.

Good luck!

Mitch Jacobson
Producer/Editor: Avid & FCP
New York City

[Mitch Jacobson]

YES, Kip Yes!!! Do it! As everyone has pointed out so far, we could use it in the FCP world. If you are looking for votes, you have another one.

Mitch Jacobson
Producer/Editor: Avid & FCP
New York City

[Mitch Jacobson]

OK, Here is an “out there idea”. This might help but, it will take grouping manually. Maybe your quick keys can help you there. Basically, you are going to build a sync map and replace all the sections that can be a multi-clip with a multiclip.

You could use any of the described methods to get your syncmap together but, instead of outputting new clips for every angle or making ref movies, you may try what I call the “Thrash Group”.

Once you have a sync map In Final Cut Pro, with your clips layered vertically, you can add edits where groups are possible and grab the clips right out of the timeline and throw them into a bin for “automatic in-point grouping”. I call this the ThrashGroup Why? Uh, because I just think it sounds cool.

What’s the time savings behind this? Because the new clips have automarked in-points, you wouldn’t need to insert a common Alt timecode to group to (like Tim’s Bulletproof MultiGroup), nor do you have to go through the steps of matchframing and marking ins and out for each clip. Huge. The new in-point works perfectly. And no new media is generated.

Making a ThrashGroup:

1. Create a sequence sync map with angles stacked on tracks vertically.

2. If dual-system audio: match to timecode as a base.

3. If timecode doesn’t match up, sync by hand or use sequence liner or PluralEyes. Use markers or an audio cue or what ever…just get everything in sync on your timeline.

4. In timeline, add edits cutting across all the synced tracks to mark the groups. Use arrow keys to quickly jump and Add edits to the beginning and end of each clip where there is a timecode break. You are essentially using add edits to mark all sections that are “group-able”.

5. Pull out all clips between the add edits from sync map by lasso-click-dragging them to the Browser or a bin. This will make new master clips group-able by the first frame as in points. No need to mark anything. (I pre build a quick folder set – one for each set of grouped clips. This where I also save the resulting multiclip.)

6. Make multi-clips from new clips.

7. Drag into track above the original stacked clips. They should be the same length and right in sync.

8. Check for sync and matching timecode. Multiclips are ready to edit.

Now you could make a clean copy of this sequence with only the multiclips in the timeline ready to edit.

It’s not a perfect solution but may work for you situation….

Mitch Jacobson
Producer/Editor Avid & FCP
New York City

[Mitch Jacobson]

Yes, I am looping through the deck. The problem seems to be that there is no SDI signal coming from the Mojo DX. From what I understand, it gets the signal through the card and outputs to the deck, where I am converting it to component for the monitor.

The Avid video out tool seems like it is missing something here. There isn’t an option for component out or composite, for instance….

I’m wondering if a recent ProTools install has changed anything. I’m expecting to pick this up again this week and I’ll report back….Thanks.

Mitch Jacobson
Producer/Editor Avid & FCP
New York City

[Mitch Jacobson]

So the serial port on the Moxo DX is not for deck control???? That would be too easy, right?

From what I understand you also need the Rosetta Stone adapter to get the Keyspan/Tripplite to work.

Just wondering if this all in one converter cable is the ticket: Addenda RS-USB/4.

It goes from USB to 422 and converts 232 to 422 all in one cable so neither the USA 19 HS nor the Rossetta Stone would be needed. (if this works). Plus there are drivers for Windows and Mac.

LINK INFO:
https://www.addenda.com/addenda-elect/products/rsUSB4.php

model RS-USB/4
Interface Adapter Cables

Building on the success of the Rosetta Stone line of RS232-to-RS422 serial adapters, the RS-USB/4 extends the ubiquitous Universal Serial Bus to RS422-capable video tape recorder. Like most of our other products, the RS-USB/4 cable generates an RS422 signal vital for connecting Macs and PCs with video products.

The RS-USB/4 cable is 12 feet (3.8 meters) long, with the conversion electronics embedded in one end. As a one-piece solution, system configuration is greatly simplified by not have several adapters and cable strung together in a sometimes confusing manner.

Since the RS-USB/4 appears as just another serial port to the operating system, all application software (such as those offered by Adobe, Apple, Avid, etc.) will work with no special changes required.

RS-USB/4

Mitch Jacobson
Producer/Editor Avid & FCP
New York City

[Mitch Jacobson]

I forgot to put the system specs.
MacPro dual quadcore, nvidia geforce 120 graphics card, 4gigs ram, no Raid, dual boot Avid & FCP. Leopard 10.5.8, Avid 3.5 and Mojo DX.

THANKS.

Mitch Jacobson
Producer/Editor Avid & FCP
New York City

[Mitch Jacobson]

Thanks, Todd!!

This worked like a charm…much better than my workaround of mixing down the effect, creating a matte than keying that over footage….perfect. Thanks again…

Mitch Jacobson
Producer/Editor Avid & FCP
New York City