Nick Meyers
2
Premiere Pro Coins
Forum Replies Created
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” Doing it as a straight QuickTime movie seems to eliminate most of the darkness.”
good.
i meant to say “everything Shane says is correct”
i was just adding some extra info.nick
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“why didn’t they decrease the bandwidth used for audio so that video could still be at 30fps?”
dunno!
“does that change the pitch of the audio at al”
yes, but not by much.
I think that for many years this was simply tolerated,
but now with better tools, it may be dealt with.why not check for yourself?
Conform a clip with audio you are familiar with (including music) thru CinemaTools.
have a listen.but why I’m back is i just read this about Resolve 12.5:
“23.98 and 24fps material can be rendered to 29.97 and 30fps: It seems like most projects deliver in 23.98, but just this month I had a job that required delivery to 29.97. Having this render option available saves a conform step and is indispensable when delivering directly from Resolve.”
nick
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are you seeing this in FCP?
does the image revert to normal when you play it?
that’s a common enough bug in FCP.i’m not exactly sure what causes it, but i recently found a fix:
set the canvas background to white, then back to black again.
(third small dropdown menu at the top of the canvas)nick
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i’d always rip with the original frame rate.
deal with it later if you need to, when it is in a better format, like Prores.changing the frame rate while ripping would most likely just drop or add frames.
“Also, in case I want to use the footage in a 29.97 fps timeline in FCP, would I rip the 24 fps DVD footage at 29.97? Or would that just create duplicate frames?”
yes. that’s FCP’s way.
not very good.i’ve never had to deal with this situation, living in PAL land,
but if i had to, i’d look to Compressor.nick
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good news!
all the best with the project ☺nick
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yeah, trash prefs,
re-start, establish your prefs the way you like them, and quit FCP.
back up your freshly created preferences.at least that’s the way i do it.
n
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hi Matt.
your project isn’t ferociously large,
i’ve often cut features broken into 4 or more parts where the individual parts are larger than 100mb.
i’ve had no problems with these.you seem have other problems:
” if I tapped the left arrow multiple times to move back to the front of the timeline, FCP 7 crashes on me.this could be caused be corrupt FCP preferences.
i would suggest trashing your FCP preferences.
(and getting Digital rebellion’s free Preference Manager to help with this in future)it probably isn’t your media, as Prores is obviously a format FCP is happy with.
but why are you stepping 1frame at a time to get back to the head of the timeline?
that could cause strain on your system, but mainly it’s very time consuming
up or down arrows will jump you one edit at a time,
or use the home key to take you to the beginning of the timeline
(similarly the end key takes you to the end of the timeline)
(and while we’re at it Shift+ left or right arrows move you one SECOND at a time. i use this a lot)“I also noticed the audio waveforms being partially gray and partially white, where they are normally all gray”
trashing your waveform cache could help.
FCP would be forced to re-draw all it’s waveforms.
but trash preferences first, that can often fix weird display issues.regarding project size, and workflow:
“should I chop the 2 hour film project into a bunch of smaller projects”
in your case no, as i say 100MB wouldn’t worry me too much.
bit if you wanted to make it smaller, first thing id; suggest is not hanging onto too many old versions of the edit.
i try to have only 1 current version of the film in my edit project
sometimes 2 if we’ve toying with a couple of big structural options.older versions get hived off into other projects, which i’ll describe in a little while
“(maybe 4 x 30 minute projects to cover the whole 2 hour film)? ”
i tend to work in 4 parts myself as it reflects the usual dramatic structure of 4 acts
(yes 4, as the typical second act is about twice as one as the first and “third”, and should have a good strong mid point, therefore 4 acts)if you were to split yours however, i’d suggest 2 , and ONLY if you can’t get it to work as one whole project
my last film was a lot simpler than i’d anticipated, and i kind of regretted i hadn’t kept it in one project, as it would have fitted.“If I do this, when it’s time to export, should I just copy them all into a single new 2 hour project, and export from here?”
that’s what i do.
when it’s time for a screening or a particular viewing copy,
i copy the sequences from each edit project into a new project, dated and with a brief description (MyFilm edit 1701129 for Investor X)i keep each part’s sequence in here (also with the date appended), and this is my back up of older edits.
i tend to export from these sequences as they’re already rendered,
and we stitch together the exported parts (and screen from an FCP timeline)
but another way would be to create one giant timeline from the various parts.
(but still keeping the individual sureness for each part as the backup.)hope that helps,
nick -
“Is it the filesize that is causing this?”
maybe , but it’s not disastrously large“The 2nd sequence?”
nope, not this“Could that single 29.97 clip in a 23.976 timeline cause this?”
no. at least i doubt it very much.of the three, reducing the large project would be the best this to try.
you say you copied the entire project,
but really you just need the one edit sequence,
so either delete everything else form that project,or possibly better:
copy your master timeline into a new, fresh project,
and copy your trailer timeline as well.you may find life a bit easier you split your timeline into smaller parts.
that’s how most feature work is done.nick
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an XML from Resolve will just open the original clips in FCP, correct?
if you exported the film as one continuous file,
seems like you need to import that file back into FCPnick
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do you mean the mid 2012?
that’s got FW800, USB3 and Thunderbolt.
nice.
got myself a second hand one last year.nick