[Nick Meyers]

sounds lie you’re trying to use the tv as an OUTPUT..
capturing FROM the tv.

are you hooked up to an HDMI OUTPUT from the tv?

otherwise there could be copy-protect issues???

nick

[Nick Meyers]

telecine can be done at any rate, really. 23.976, 24 or 25.

as i say the Russians might not be familiar with a 23.98 workflow.

im not that familiar with it myself, (Australia is PAL)
but i believe that the audio needs to be recorded at a 48.08khz sample rate if you go with a 23.976 workflow???
frame rate @ timecode dont matter so much,
but really dont take my word for that.

good luck,
nick

[Nick Meyers]

check out this new Scene detector app:
https://www.scene-detector.com/

export an XML of your clip from FCP,
open it in Scene detector and run it,
it will make a new XML file that will open a new version of your clip in your FCP project with markers on all the scene changes.

very simple to use, and relatively accurate (it analyses the image itself)

cheers,
nick

[Nick Meyers]

i wonder if the camera needs to have it’s date & time set for this to work,
(like the DV Start/Stop detect function does)

you can probably turn on a data display on the camera to see if it;s been set or not.

nick

[Nick Meyers]

Russia is Secam / PAL,

so check with them if they want 23.976 of not.
they may prefer true 24fps, or 25fps

i’m getting realtime playback of Prores in FCP 5.04.

i have FCP6 on the same machine, though that might explain that.

cheers,
nick

[Nick Meyers]

i’d do it manually in FCP;

import the EDL, and you’ll get a sequence of off-line clips
line your movie up against that in a sequence,
select al,
then step thu and add markers to it
down arrow = next edit
m to add a marker.

drag your marked up clip into the browser,
toggle it open,
select all the markers and dag them into a new bin.
they will now be sub-clips called “marker 1”, “marker 2” etc
then you can batch export
and use a batch re-namer to tidy up the names on the new files.

but it;s late and i might be missing some really obvious simpler way to do this.

cheers
nick

[Nick Meyers]

Hi, Aaron.

a Macro is a string of actions, like keyboard shortcuts, that are recorded and that can be triggered with just one keyboard command.

so instad of doing the same boring keystrokes over and over again, you get an application to to them for you.
the one i suggested was QuicKeys
https://www.startly.com/products/quickeys.html

i think there’s a 30 day free trial peroid, but for the time it can save you it’s very affordable.

it’s actually pretty easy, but will of course take you some time to get started.
the supplied documentation will help better than my garbled descriptions

one trick to programing macros in quickkeys is adding “pauses” between certain programmed shortcuts. otherwise they go faster than FCP can cope, and it misses the signal.

but you dont have to program, just file > import shortcut, and load the one i can send you.

have a look at it in QuicKeys at you’ll see how it works

the shift down arrow & macro i made wil repeat a certain amount of times defined by the user.

if you give me your e-mail, i’ll send it.
i htkn my e-mail i in my profile?
otherwise
nickm (at) bigpond (dot) net (dot) au

(and to be clear you cant copy or pstae markers, which is whay yuo have to go to such lenths to do what you need)

nick

[Nick Meyers]

i just tried it and i’m in love with it already!

i;ve been looking for a decent scene detection app for years,
and this is the best & simplest yet.

thanks for the tip-off,
nick

[Nick Meyers]

if the clips are scaled, the “centre” points wont match.

if you need to scale the clip,
copy & paste it,
remove attributes: Basic Motion.
do your key-framing work,
then paste attributes back from the original scaled version.

cheers,
nick

[Nick Meyers]

“Will I lose any quality by exporting/importing from the timeline?”

none at all if you do it this way:

export as a QuickTime Movie,
use the Current Settings.
(also no motion effects or filters on the clips: otherwise re-compression is involved)

changing the sequence timecode is pretty irrelevant, as it will only ever match one of your 3 clips.

now this has certain problems:
like if you want to go back to tape, you cant.
you can hedge yr bets by either:
A- making a backup of the file you create
B- saveing your sync-sequnce so you can re-capture & re-export if necessary,
C- both A+B

the other approach is to sync your multiclip by AUX TIMECODE.
for this you would simply add an Aux TC to the V1 clip,
then go to each of the V2 clips, (the start of the clip say, but it doesnt really matter)
and copy the V1 Aux TC at that point, and add it to the V2 clips Aux TC.
(if all V21 clips are from the one master clip, or refer to the one FILE, this wont work, of course)

however my experience with multiclips (FCP 5.02) is that Syncing by in-point is more stable than syncing by aux TC
and my guess is if you;ve captured HDV as ProRes, you wont be going back unless there’s some unmentionable disaster.

hope that helps,
nick