[Nick Meyers]

“And the only way to rebuild your assistants work is to eye-match your footage. ”

not quite.

what that file refers back to is the timeline you exported it from.
so if you still have THAT, then you have a legitimate source to work from.
it IS mainly manual work, but it’s not eye matching.

open a COPY of the assistant sequence in a timeline,tun timecode overlays on.
for this you’ll find it a lot easier the less tracks you have , so go in there and compress to as few tracks as possible.

turn on timecode overlays in the canvas,and you can see the source TC of the exported file.
load the original sequence in to the VIEWER (Drag it there from the browser), and type in those timecodes.
you dont have to go to the tc window, just typing the numbers should work.

mark in/outs in the timeline, and an in in your viewer, then so a “Sequence Contests” edit:
basically hold APPLE while you do the edit,
so Apple F10 instead of F10 to overwrite.

smart move would be to do these new edits to a new set of tracks, keeping the original work for a confidence check.

hope tat helps,
nick

[Nick Meyers]

one thing the old time iris out did was to close part way,
stop on something in the frame, (a person or face)
then close all the way down.

for this, i’d recommend the free Marcus Herick “Vignette” plugin.
it’s a cool plugin to have anyway,
and you can keyframe grat iris moves with it.

https://www.haiku.com.au/2005/08/final-cut-pro-plug-ins.html

nick

[Nick Meyers]

if all you need is an EDL, (and that’s becoming more and more common) then a simple EDL export will probably do.

if you need the Keycode, then you need to export a Cinema Tools Film List.
been a while since i did it,
but you do that in FCP,
then point it to the master cinematools database,
and take it from there.

read up on it in hte CT manual.

to avid any errors, you would always send a reference copy of the film with burnt in timecode to the people doing the work.
either on tape, or these days file.

as Garry says, talk to them.

cheers,
nick

[Nick Meyers]

there’s the Smooth Cam filter.

you’ll find that takes a lot of time to analyse the clips before it can do it’s magic,
ad the gotcha is that it analyses the ENTIRE clip, not just the part you’ve used in the timeline.

it;s a wedding chances are good you’ve captured long takes, or even whole tapes,
so you may want to lock off your edit first,
then media manage the show,
THEN apply Smooth Cam,

or if there are just a couple of shots, export them as QuickTime movies,
and bring them back in,
then apply Smooth Cam

nick

[Nick Meyers]

drag them out of the browser, and put them back in in the order you want.

either that or close them all, and re-open them in the order you want.

nick

[Nick Meyers]

Hi, Kristian,

Intensity was at version 1.8 & has now been updated.
unfortunately the problem persists.

FCP is set up using the Intensity PAL (720×576) easy setup.

Shift F12 still gives me the current frame on the monitor, (so the cable works!)
Apple F12, or “All Frames” just gives me a black screen.

when i switch to FW output, All Frames works,
when i switch to Digital Cinema Desktop Preview, Al Frames works.

Intensity output is set to: HDMI & NTSC/PAL (Y Out) & S-Video,
i am using the Y out

thanks,
nick

[Nick Meyers]

switching to FCP6 will make this a lot easier.

yes you can do it in 5.1, but you’ll get much clunkier playback.

should not that neither 5 or 6 do good frame rate conversion.
it;s just simple dropping or duplication of frames.

the nattress standards conversion plugin, or compressor will do a better job.

nick

[Nick Meyers]

Bob,

the “Server” or central computer,
id it’s sole role as a traffic controller,
or can it be an edit station as well?

nick

[Nick Meyers]

i had exactly the same speed issues with a 5.14 project i tried to migrate to 6.01.
my solution was to just stay in 5.14 for that project.
not much help, sorry.

but have you trashed your preferences?
that can help when things get weird & buggy.

nick

[Nick Meyers]

i’ve only limited and observational experience with this,
but i would say it;s just a bad idea to use subclips in a multiclip.
it’ll work, but sometime down the track it’ll come back and get you.

“it digitized way way too much footage that where not in the multiclips”

what are your media manager settings?
this could be a simple matter of you not deleting the unused,
also remember to un-tick all the boxes that say “include”

if you also un-tick the “include muliclip angles,
then the resulting offline sequence should have no multiclips at all.

(remember a collapsed multiclip is still a multiclip: it can be un-collapsed at any time.

if all else fails you could use EDLs, i guess.

nick