[Nick Meyers]

[Tim Cromar] “But how would it help line up the synced clips with the edit point on the timeline – surely the’d still need to slipped by hand/eye?”

i was suggesting there’s be a second stage where you’d copy the timecode across from one clip to the other,
assuming you’ve got them layered on two tracks

i myself have another kind of kooky method using match frames,
but it;s a lot of keystrokes and would probably need a macro app like Keyboard Maestro, or Quickeys

i’ve outlined another method of eye-matching in another reply.
but shut for the heck of it, i’ll outline my kooky match-frame method next…

[Nick Meyers]

hmm… not sure that is possible… i don’t use Pluraleyes much.

but i don’t think the slip too is the best tool.
are you working to a guide export from the original project?

i;d put that maybe UNDERNEATH the new clips, an make them invisible (Control B)
make v2 your auto-select track, and also your target track.
parked on the first clip, match frame it into the viewer.
you can see the guide in the canvas, and you’ve got the new clip in the viewer, where it;s very easy to find the frame that matches.

it’s pretty easy to verify this by sending your video out to an external monitor, it can even be a second computer monitor,
you can then toggle between the viewer or the canvas being displayed on this monitor by hitting the Q key
when you’ve got the right frame there won’t be any different when you toggle the Q key

when you’ve got the right frame, do a REPLACE EDIT (F11) to edit it back into the timeline in the correct spot.

hope that helps
nick

[Nick Meyers]

actually that’s too complicated,
just use pluraleyes to re-sync the new clips to your EDIT
(I’m hoping that’s possible?)

nick

[Nick Meyers]

or….

you could re-ingest the 1080 clips, without trimming

or

as you have audio, you could use plural eyes (or something similar) to sync the 720 and 1080 clips,
and then copy the timecodes from one to the other,
that’d be a (relatively) simple macro to build in Quickeys or Keyboard Maestro.

nick

[Nick Meyers]

hi Tim

did you cross-check the720 files with the new 1080 files?
check to see if they are actually in sync?
with the time-codes matching?

i would do that first, then correct any errors,
THEN finally do the re-connect.

you don’t really need the Media Manager to help with the reconnect,
but it would make the conversion to 1080 simpler:

use Media Manager on your 720p sequences,
set it to “Create Offline”, and set your sequences to cineform 1080p.
you’d have to make a new sequence preset first.
base media file names on file names, not clip names

nick

[Nick Meyers]

use a combination of distort and scale.

most likely the distort will be 33.3 (or -33.33)
and the scale 133.33

but watch out for any black edges.

if you’re working in the canvas,
you can hold SHIFT while you drag the borders of the wireframe.
it’s not particularly accurate, but can get you close to here you want, then you can refine in the motion tab.

nick

[Nick Meyers]

only if you ask it to.

there’s a pull down menu:
base media files on:
i would have thought it was set to file names by default, but if it isn’t , just change it.

cheers,
nick

[Nick Meyers]

yes, Media Manager is the way to go, as the others have mentioned.
it is pretty simple really, especially when you are copying enter files as you are doing.

as well as what David outlined, you may want to check the box requesting a new project on the other end that connects to the copied media.
makes life simpler

one thing however: it will copy ALL the media in the timeline/s into ONE location.
so all your music, sound effects and graphics will all go in together with the video.
maybe not a problem, but personally, i would always re-organise those files after a Media Manage.

nick

[Nick Meyers]

rendered or not, it shouldn’t make a difference for what you’re doing.

nick

[Nick Meyers]

“And my prior editor made about 20 sequences”

ok then , first thing to check is if there is a working “Master / Affiliate” relationship between the clips in the timeline and the clips in the sequences.

park on a clip in the timeline,
hit Shift F
you should jump to that clip in the browser bin.

as an editor i found this a very useful feature.

if that’s working, great.
but you could easily break it by copying from project to project,
and the tricks to NOT copy both at once.
somehow that confuses FCP

so copy the bin, the the sequence,
or the sequence then the bin,
and you should have a working “Master / Affiliate” relationship in the new project.
(but check that)

cheers,
nick