[Nick Meyers]

“If I edit in 1080 sequence and crop, I won’t loose quality, but I’ll cut part of the video which I need…”

there’s your dilemma.

if you want to CROP your image DOWN to 1920×1080, while maintaining original quality
your mastering format will be some impossible frame size,
some sort of HD 4/3

it’s not impossible of course: you can make any frame size you want in FCP,
but you ant get any RT at all, render city.

so maybe lock off with subs,
tun the subs off, export,
re-import and put in your mew-fnaglerd frame0size sequence
and add the subs back in

what’s it for?

nick

[Nick Meyers]

you have to run it though compressor and do a frame rate conversion.

[Nick Meyers]

I haven’t used Compressor to do this myself.

Rafael, the “Rate Conversion: Fast (Nearest Frame)” option,
does that just drop or repeat frames to make up the difference?
simply dropping the shot into a miss=matched FCP timeline will do the same thing.

nick

[Nick Meyers]

compressor will take a long time, and might not look so great
CInemaTools is instantaneous looks good but wil alter your payback speed, and audio pitch.

if these are for multi clipping, or if sync between the cameras is important, then Compressor is the only way.

using CinemaTools, if you have the same people on both cameras, then the change in audio pitch will be a bit disturbing, but isn’t insurmountable.
with not very good pitch correction in FCP, it is a genuine “fix it in the mix” situation..

nick

[Nick Meyers]

possibly it will need a combination of what Jeff suggests, PLUS a garbage matte to keep the trims off the subject.
yes, that will require a second track.

COLORISTA was (is?) a 3-way cc tool similar to the FCP one that had build in window creation.

as Jeff points out it would have been simpler to fix on set.
i hope you are charing for this.

nick

[Nick Meyers]

i agree: i’m doing it right now!

nick

[Nick Meyers]

there is an App that will make FCP subtitles from sequence markers.

it is called Title Exchange Pro, from Spherico FIlmtools
it costs a bit, but it actually does a lot MORE than turn markers in to subs.
it is for converting one title format to another.

for instance, turning an STL file (from a DVD, say) into FCP text, or vice-cersa,

or could be for making a global changes to an FCP text style
(like you’ve got a thousand subtitles, and the producer says: no a little bit bigger!’

nick

[Nick Meyers]

Hi, Nick.

i know the master affiliate thing is fragile, but it is possible to keep it alive.
when copying your bins and sequence from one project to another, it is safest to copy them SEPARATELY.
don not copy the bin and sequence at the same time.
this can break the link.

so, assuming you have a working link in one project, you need to copy first the bin of clips,
then the sequence. (or the sequence then the bin)
OR just copy the bin or the sequnce

an XML transfer would pretty much just break the link. or more accurately it would be creating a new collection of clips with NO LINK. i doubt there’d be anything you can do about that.
do you need XML? why not jut use sequences?

sorry, i don’t have experience with keeping the logging data, as i don’t use it, myself.

i don’t think there’s a way to “re-link” clips, other than
A create new master clips, and re-enter the log gin.
or
B over-cutting your sequences with borrower clips

you should check the browser clips first to see if they them selves are master clips.
it can happen that you can double click a BROWSER clip into the viewer, try Shift F, and STILL get the “no master clip” warning.

nick

[Nick Meyers]

you can make a SERIES of multiclips, each covering only the time from the start of one B-cam clip to the start of the next.

if there aren’t TOO many B-cam clips,
AND you alter their Time-Codes to match the A-Cam (worrisome, i know)
then you can sync by TC, and each new clip will simply be a separate angle

you could sync your B-Cam clips, and Export that track,
re-import and make a multcilp with the A-Cam.
it’d have to be top quality as it would be simpler it it became your master.

or just edit with 2 video tracks.

nick

[Nick Meyers]

“This all started happening since I made copies of the edit drives – we’re using three 4TB G-drives. We have one editor editing remotely, so he has the original edit drives and I have the copied drives. ”

do your drives have identical names & file paths.
they have to, really.

the original clips that you used to make the reference files- are they in exactly he same place as they once were?

“Another thing that could have be influencing this is that the online house told us, after we had already set the projects up in ProRes, that they only work with DVCPro, so I’ve converted all the capture scratch files on one of the drives to DVCPro using FCP’s Media Manager, and once this problem has been resolved, I hope to convert the rest to DVCPro.”

that’s a dangerous move give your reliance on reference files in multiclips.
i think it was quite unnecessary.
you could easily keep working in your chosen format, and convert your FINAL EDIT to DVCPro.
or change on-line houses. (only working in DVCPro sounds a bit dodgy to me)

is it possible to go back to ProRes or is it too late?

nick