[Nick Meyers]

“i use Apple ProRes 422 (LT) 1280×720 24p 48 kHz” as the Setting.”

i suspect the problem is that the default setting uses a frame rate of 23.98.
you have to create your own custom sequence preset se to true 24fps,
and use that for your batch export

nick

[Nick Meyers]

hi Joe.

as you;ve discovered Media MAnager will re-join many of your clips into single files.
it is trying to be as efficient with it’s media as possible.

my experience is that you need TWO frames missing between adjacent clips for MM to split them up.
when it done is actually gives you ONE frame back, weirdly enough.

if you have overlapping subclips, then you have two options.

one is to not use the Media Manager, but to BATCH EXPORT your subclips.
this will keep your reel# and TC, but loose and logging, or markers you have added.

if you need your logging and markers, then do this:

in the browser , sort your clips by reel# and Media Start.
drag them into a new sequence
in the sequence, select every SECOND CLIP, and drag them all up to V2,
so you have a checkerboard of clips V1, v2, V1, v2, etec.

now select all the V1 clips, and Media Manage them.
then select all the V2 clips and Media Manage THEM.

cheers,
nick

[Nick Meyers]

i’ve had gamma shifts on exported quicktime movies splaying in QT player7
thay occurred on shots that had been worked on in After Effects.

the problem was solved for me by going into my Quicktime Player prefs and ticking “Enable Final Cut Studio Color Compatibility”

if i played the file on another system the problem would of course be there until i changed the QT prefs on that system as well.

nick

[Nick Meyers]

this is a question for Michael.

the last time i tried keyframing a grade in FCP i found it very difficult.
my main issue was changing the timing of the dynamic.
then i had to manually move many, many keyframes.

is there a simple way to move all of the 3-Way CC keyframes as one?

thanks,
nick

[Nick Meyers]

hi Andrew.

you could have gotten the same results no matter where you cut the clips, as you can easily choose which frame neat video analyses.

then you would simply dissolve from one graded shot to the next graded shot.
no keyframing

even if you match the grades, you may get a bump in the noise levels on mis-matched clips because you have no hanldes / overlap

nick

[Nick Meyers]

“I actually cut the clips mid-way through the dissolve and used the Neat Video plugin to reduce the noise.”

well there’s your problem.
you will have to do those shots again with the complete dissolve.

either export with both shots + the dissolve as one clip,
or shot 1 + whole dissolve and shot 2 + whole dissolve as two separate clips
either way you need the handle to grade thru the dissolve.

nick

[Nick Meyers]

i dont have a huge amount of experience capturing HDV,
but i now there is a button in the Log & capture window that lets you break the clips into individual files OR NOT.

so it’s easy to capture each tape as a single file.

i think what you are saying is that you have TC breaks on each clip.
with DV tapes with TC breaks you can set Log & Capture to “non-controlable device” and do a capture now.
im pretty sure you cant do this with HDV.

nesting your tapes in to sequences may be the solution, as Jamie suggests.

a good thing to do if you work that way is to re-map your keyboard.
set “Overlay Sequence Contents” to F10 and “Insert Sequence Contents” to F9
good thing is, normal Overlay and Insert still work with F10 & F9

nick

[Nick Meyers]

first, check your disc space requirements. ProRes isn’t that huge, and you might be able to NOT go to an Offline format.

there’s a few disc space calculators out there. i use the free widget from DIgital HEaven

“does the offline version have to be prores 442 proxy?”

well you’ve got a few choices, ProRes LT is also an option.

in general i find it’s better if you stick with the frame size of your master media.
again it depends on your disc space, but it is easier if you don’t have to re-size things.

“8-bit/10-bit?”
not an issue, and ProRes is all 10 bit anyway

nick

[Nick Meyers]

well i think either alex4d or andy mees make one,
but as you are interested in saving time,
doing a (decent) title roll w logs in FCP is the SLOW way when compared to AE or Motion.

nick

[Nick Meyers]

yes, that’s what anamorphic is
it is 4/3 that gets stretched on display to 16/9 (or wider in the case of film)

you can make quicktime stretch the image out,
or you can convert it to some other frame size, which you may well be doing as part of your web deliverables.

but then you’ll be stretching your graphics.
maybe that will be noticeable, maybe not.

Jason’s advice not to alter the frame size may be wrong for you, as you are delivering for the web.
if you are creating something for SDTV, then 4/3 anamorphic the way

“The graphics are looking the same as DV codec too”

did you use the filters i suggested?
where are these graphics being created?

nick