[Nick Meyers]

there is also this new tool from Boris (less $$ than Automatic Duck)

https://www.borisfx.com/tutorials/XML-Transfer.php

nick

[Nick Meyers]

Spherico Title Exchange is what you need.

other than that you could export an XML file from the timeline, and do a “search and replace” in a text edit program,
where you replace one font for another.

it could be a bit tricky (i haven’t done it)
to be safe would copy the sequence and then delete everything except the subtitles.
an XML from that sequence would be a lot easier to deal with.

oh, and test it on a small sequence with one or a few subtitles.

but Title Exchange is built for this.

nick

[Nick Meyers]

yes, Stephan is right,

all used clips and all sequences must have a TC Rate of 24@25.

to be sure you are targeting all clips when you change TC Rate in the browser column you can do this:

copy your final edited sequence/s into a new project.
select the sequences and got to the Tools Menu > Create Master clips.

you’ll get a new bin containing ALL the clips used in the edit.
now you can change the TC rate on the sequences and clips.

i’m saying you HAVE to go about it this way.
you may have all your clips already in your edit project.
but some people keep their rushes in one project, and their sequences in another.

nick

[Nick Meyers]

the others have said it: you are trying to create footage that doesn’t exist, and it can get very difficult, very time-consuming, and very expensive.

the only morphing plugin i know of for FCP is from CHV:
https://www.kenstone.net/fcp_homepage/review_chv_morph_.html

if the subject is moving a lot as you say it’ll be almost impossible.
can you do a jump cut, but maybe blow up the second shot, so itlooks like you are cutting in closer?
then at some later point zoom or cut back out to full frame?

nick

[Nick Meyers]

hi chris.

as answered on lafcpug:

you would be a lot better off NOT using the media manager for this job.
simply copy the relevant files across to the new location manually.

hopeful they are not spread all over the place too much.
if they are it would be best to work on fixing that up a bit on your first project, then copy it all to the new drive.

i work with duplicate drives a lot.
it pays to have everything exactly the same on both sets of drives.
all folder structures the same, and even this same drive name used on the drives.
this way you should not need to reconnect at all.

so,
bad news: start again
good news: it will work.

cheers,
nick

[Nick Meyers]

another thing i sometimes do if i want handles is to use the media manager on that single clip.

select clip, open MM

COPY mode
DO delete unused,
add handles
base media file names on: Clip names

nick

[Nick Meyers]

laying the clips in the timeline is the first step to improving the workflow.

rather than opening each clip on by one from the browser,
double click the first clip in the timeline into the viewer, which is the only place you can actually modify the TC.

when a sequence clip is open in the viewer, all you need do is stay in hte viewer window,
and press the up or down arrows on your keyboard to jump to the NEXT or PREVIOUS timeline clip IN THE VIEWER.

so that saves time & effort.
the other thing is: rather than going to the Modify Menu each time,
make a shortcut.

open the keyboard layout window (tools menu, or option h)
find the Timecode” command and give it a shortcut.

nick

[Nick Meyers]

we had a similar problem recently.
it was tied in with our workflow, which was kind of specific, but not unique.

we were capturing film directly from a Telecine into FCP using capture now.
the resulting files had corrupt headers, or TC information, (or something)
the weird upshot of which was EXPORTS from the timeline (maybe from the viewer – cant remember) were 2-3 frames out of sync.

solution was to EXPORT the clips as QTMovies, same settings,
bring those files back in, and modify the TC (which was now off) based on the burn-in.

nick

[Nick Meyers]

250 hrs! wow… a lot of fotage.

i cant compare, but have had to capture lots of material in a hurry.
(director coming back from OS with a bag-load of tapes)
this is wat we did:

YES we captured on 2 or sometimes 3 systems at once.
our film was shot with 2 cams so that made a lot of sense.

our film was HDV, we captured as DV.

capture whole tapes, no time for logging.
as the tapes are capturing, make broad log notes of what is on them.

when the tapes are in at the end of each day, run DV start/stop on the captured clips to add markers on every new shot.
this is a function in FCP. might be in FCE.
the time & date needs to have been set in the cameras for this to work.

the markes help break down the shots into the rough-logged sections

we edit all shots into a timeline, select them all, right click & “make independent clips”

blade up & re-name the segs.

then MEDIA MANAGE the segments.
Media Managing exports the segments as self contained files, with the new names & keeps the markers

one very small hiccup:
you need to trim TWO FRAMES from between each segment for MM to work,
otherwise it wont create separate files.

so we’d capture all day on two or three machines,
then spend an hour or so running DV start/stop, blading, renaming etc,
then run Media Manager over night.
first thing next morning we check that it worked OK,
then power on with the capturing.

hope that helps,
nick

[Nick Meyers]

i dont think compressor does that.

i’d use compressor to create a ProRes version with the same frame rate,
THEN use cinema tools to conform to 23.98

nick