[Nick Ravich]

Sorry, and I guess a related question is – am I really earning anything by doing this? Should I just shoot 1080 in the RED to begin with?

Footage is for project intended for 1080 broadcast, so this 4K footage will be edited and output/mastered at 1080. I’ll probably never make a version where I cut 4K and output 4K. Again, I’m not looking to crop out a portion of the 4K frame to 1080; I want the entire original 4K frame as 1080.

Nick.

[Nick Ravich]

About 1 TB left on a 4 TB drive, so don’t think that should be an issue.
I do have a lot of 4-5MB 1080+ sized jpegs in the project.
Not in the same sequences/timeline, but def in same project.
I know in past FCP doesn’t like a lot on non-1080 frame-sized pics.
Nick

[Nick Ravich]

Thanks Dave.

You mean check frame rates for all individual clips in the project?
I’m pretty good about converting/transcoding everything to 29.97 but will check.

Playing back clips in a single video track sequence, coming off FW800 external drive, working on an old Mac Pro, Duo Quad Core with 12GB of RAM.

And no, nothing needs to be rendered in that timeline.

Nick.

[Nick Ravich]

Thanks Dave.
Sorry, should have explained – I shot 59.94 with intention of playing back in a slow motion look in 29.97.
I know I’ve done that successfully in the past using the same workflow.
Presumably straight up transcoding to 29.97 will kill the slo-mo possibility.
Again, I’m getting the slo mo look in Quick Time player, but not the FCP app.
But maybe there’s something I’m not getting?
Nick.

[Nick Ravich]

Many thanks Todd.
So a big endorsement for the C300 got it.
Wondering what you’re preferred configuration is for the C300 in a more run and gun/doc-style shooting situation? Some kind of cam stabilizer rig? How do you monitor?
Nick.

[Nick Ravich]

Thanks Pat.
Not familiar with refresh sequence command – where’s that?
And by motion adaptors you mean the green dots? Are those in essence effects I can open (not at my machine now)? So I need to apply/render motion adaptors to work with interlaced footage in progressive project then.
Will try field stepping tool to verify whether prog or interlaced.
Nick.

[Nick Ravich]

Thanks John.
Also just realized that Avid has that auto-sync function and can use that for time-code matching video and double system audio.
Nick.

[Nick Ravich]

Thanks Xavier.

Re mark iii files, now shooting with more compressed of the 2 possible record codecs. Def loads in Log & Transfer a bit quicker. And seems less buggy in the transcoding.

Re T2i, many thanks for the new plugin heads up. Site lists 1.4 ver as being released 12.12.12. Been spending last half year trying to lock down good 3rd party alts to L&T tool for T2i & T3i footage. VERY happy to hear the old hack works (at least for the T2i.) Tho p*ssed I spent all that time looking for a fix that Canon finally provided.

Hacking away, N.

[Nick Ravich]

Many thanks Rafael.
Yes, running FCP7.
Took a look around but couldn’t find “Allow Final Cut Pro Color Compatibility”
Exactly where would I find it?
Nick.

[Nick Ravich]

Rafael-

Thanks much for this.
Was hoping issue was something like that.
This is the one HDSLR transcode app that does exactly what I need for T3i files. So want to stick with it. So I’ll just ignore the non-optimized message then.
FWIW I did hear from Rarevision over the weekend and here’s what they said-
“This will be fixed for good at some point (it already is, actually), but I don’t know exactly which future version of 5DtoRGB will include this fix. It shouldn’t be too long until it’s available!”
So at least they’re aware of the issue and seemingly have fixed it.

Understood about using 701/broadcast range & advantages of different/higher res flavors of ProRes. Been happy with APR422 LT – project is strictly intended for the web at the moment and we don’t do any real intensive color correction on it.

Nick.