[Nick Meyers]

“I’ve been asked to edit a short film”

sounds like you;ve been asked to do the vfx as well.

if that’s not your thing, suggest they find someone else.
you can just EDIT the film, ignoring the light issue,
or using some simple substitute if there are story issues involoved.

nick

[Nick Meyers]

“re-render entire chunks”

“chunks” is a bit scary sounding.

for reconnecting in FCP to work, you would, probably have to re-render the entire thing.
your render, or export from AE should be exactly the same duration,
with exactly the same TC.
some variance in this is ok in FCP, but mostly it’ll cause you trouble.

nick

[Nick Meyers]

a similar problem reported here:

<https://forums.creativecow.net/thread/8/1047435>

nick

[Nick Meyers]

the workflow will work,
but a lot hinges on what you mean by “finish back on D5”

if you mean just play your DVCProHD out from FCP to the D5,
then yes, it’s a bit insane as you would be losing a bit of quality.

if you mean you are going to re-conform from the original D5,
then you’ve described a perfectly normal and sensible (and sane) offline / on/line workflow.

another solution could be to capture as ProResHQ.
that you would be able to play back out to the D5 with minimal generation loss.

nick

[Nick Meyers]

along with the copy/paste methodology,
there is actually an EASIER way to do this in FCP.

before making an adjustment on one clip
select ALL the clips,
then use keyboard shortcuts to adjust the volume on all at once.

shortcuts:
Control – & Control = lower or raise by 1db

Control [ & Control ] = lower or raise by 3db

Control , Control. Control/ = pan = -1, 0 and +1

nick

[Nick Meyers]

the panning indicator in the viewer can be a little confusing.

on single track MONO clips it makes perfect sense.

on stereo clips, -1 means left is panned left, and right is paned right,
so that’s what you want to see most of the time.

+1 means the panning is flipped.

as i said “the panning indicator in the viewer can be a little confusing.”
but just listen to the clip, already!

cheers,
nick

[Nick Meyers]

ah..

well, as it’s a background process,
the good news is you CAN run multiple instances in FCP

nick

[Nick Meyers]

“Both things must go together. ”

yes. thats why i nested the sequence and de-interlaced the nest.
it gives me a lot of control.
if for some reason i wanted a section of the film to have an “interlaced look”,
i can control that.

FWIW, i HAVE done that in a show!
but it’s rare and in the future i’ll try a NONE sequence

in the end, my goal is that i want to see 25 discrete images a second, NOT 50.
whether that’s recorded to, or playing off, an interlaced tape format or not doesn’t really bother me.

all the best,
nick

[Nick Meyers]

it’s best not to “Send To Compressor”, or Export via Compressor: or whatever it;s called from FCP.

simply export your rendered timeline as a QuickTime Movie, same settings.
you can export as a reference movie, or export as self contained.
if you export as reference, don’t expect to be able to open it next week.
safer to export as self contained if you think you might want the file in the future.

then take that file into compressor, and see if the conversion works there.

nick

[Nick Meyers]

“a way to render using smoothcam in the background without firing up FCP. ”

fire up Motion instead?

of course the smooth-cam analysis is a background process in FCP,
so i’m not sure what the benefit is.

nick