[Nick Meyers]

how about trying to export a DIFFERENT 6.5 minutes?

then you’ll know if it;s a file-size issue,
or a corrupt clip (maybe one of your stills??)

are all the stills RGB?
if they are CMYK there can be problems.

do you have a file export limit set in your System Prefs (Shift Q to open)?

FWIW i tend to render all in my timeline (and i’m generally rendering as i go, so this doesn’t take much time),
export (maybe as a reference movie), re-import and lay a TC reader on top of that.

saves having to re-render any time-consuinhg effects just for the burn-in.

nick

[Nick Meyers]

FCP can only do “Scene detection” chile capturing HDV where it breaks the capture into separate files,
or on DV, where it can add a marker to the scene changes after capture.

but forget scene detection. you don’t need it.
you have your original timeline with every edit in place.

just bring in your one file, lay it on top, and go through and blade it up.
down arrow control V, down arrow, control V etc, etc.
that will be faster.
OR:
can Color use an EDL made form the original sequence to set the grading notches?

however i do like the idea of having each shot as a separate file.
better for CC as you say.
also better, i suspect, if you have done any motion effects or picture in picture.
more thorough, anyway.

surely with the tests you are doing you can determine an offset for any slippage?

nick

[Nick Meyers]

“Am assuming we should use media manager to create new offline project, selecting broadcast 1080i for new sequences.”

yes

“Should we do it by selecting those clips in the timeline and running media manager on just those clips or should we make a separate timeline for the test? ”

it really doesn’t matter
the Media MAnager will create a new project & timeline for you anyway,
and your “source” sequence wont be affected in any way

“When we later come back with the full, locked sequence will it link to the previously captured clips?”

no. highly unlikely

“If so, is there an efficient way to make sure we don’t recapture those clips again from tape.”

get these clips sent back to you and use them in the timeline.

if you delete the clip’s reel#, then they should turn up in the “Offline sequence” that you create when you finally Media Manage the sequence for re-capture.
then do another MM pass on that sequence where you COPY all the non-TC media to a new drive that you take to the on-line place.

if deleting the clip’s reel# doesn’t work, then you might have to open each clip into QT and remove it’s TC track.

it could almost be worth just re-capturing

nick

[Nick Meyers]

no simple way to do it in FCP,
but this tool from Spherico Film Tools can do it via XML:
https://www.spherico.de/filmtools/

nick

[Nick Meyers]

i’m an editor, so i just want my edit experience to be as simple and as painless as possible.

i don’t want to have to carry huge files around with me while i cut,
so i’d say transcode all your material to something that is simple to deal with during the off-line stage.

my girlfriend is a cinematographer, and she’d say that you’d want to grade from the 2K!

nick

[Nick Meyers]

this will definitely happen if you are cutting from rushes that are in one project
into a sequence that’s in another project.
FCP cant maintain the Master Affiliate relationship between projects,
as each project is a self-contained database.

also, do you want to find the master clip for one camera?
that’s what Shift F will do.
if you want to reveal the Master Multiclip, then that is possible, but you have to create your own shortcut for that.
(you can co-opt Shift F if you want)

Tools > Keyboard Layout > Customize (or Option H)

this is probably straying fro your topic, but this is a copy/paste from a recent post i made on another list:

========================================

it can also happen within the one project that the Master Affiliate
relationship just breaks.
it can happen with a few clips, or it can happen with all the clips.

why it happens i don’t know, so i don’t know how to prevent it from
happening.

it did happen on the film i’m cutting now, and i was able to fix it.

i went though my auto-saved version till i found the last one where
the M/A relationship was intact,
meaning i could Shift-F from a clip in a sequence to the browser.

i did a save as,
then deleted all the edit sequences,
and copy/pasted my current edit sequences back into it.
miraculously, that worked.
(I may have copy/pasted then deleted, i suspect it would be the same)

this was ok or me as we were done shooting, so no new clips had come
into the project,
but the cuts had been changing.

hope that helps,
nick

[Nick Meyers]

yeah, i’ve used scene detector in the past.
i’ve also tried the scene detection in CatDV.

scene detector was better for me,
but neither work 100%.
sometimes they miss subtle scene changes, sometimes they erroneously add scene changes in shots with lots of motion.

it takes a while to get the settings just so for your particular film.

given the set-up time, and the fact that i didn’t 100% trust the results and would check everything,
i wonder if it’s just as efficient to do it manually.

FWIW Scene Detector works by putting markers on the clip in FCP
CatDV gives you an EDL that you an import into FCP and you can then use the offline sequence as a guide.

nick

[Nick Meyers]

have you tried this free app (Compresor Repair)?:
https://www.digitalrebellion.com/compressor_repair.htm

hope it helps,
nick

[Nick Meyers]

the rule of thumb for exporting in FCP is to export as a QuickTime movie,
(which will be the simplest, fastest export, with no re-compression at all)

and THEN to use Compressor to convert it to another format.

i don’t use FCE myself, but i’m sure it has a similar function.

in the absence of Compressor, you could look at Mpeg StreamClip,
which is a very competent (and free) video converter.

nick

[Nick Meyers]

hi chris.
so you want the Media Manager to fix a problem that the Media Manager caused?

i suspect your best bet is to copy the media manually from one drive to the other.

but i’ll also add that your media being TOO LONG should not be a problem at all when reconnecting.
you will get a warning, but you can ignore it.

if your copied media was TOO SHORT, or didn’t have enough frames to connect,
you might have a problem.

if the media started on the wrong timecode you;d have a problem.

but if the media is basically the same, except it has more (redundant) frames on the end, you might not have that big a problem.

nick