Nicole Haddock
Forum Replies Created
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I would’ve brought it in as either Apple Pro-Res 422 or DVCProHD. (You’d save space with DVCProHD.) If you have the original Flip files, I would do a test in Compressor, do like 30 seconds, and see how it looks, how big the file is, etc.
What are the specs of the computer you’re editing on? What are the exac specs of the sequence you’re editing in?
And I’m really lost on your comment about the audio CD. If it’s a 48kHz .AIFF file, then it should be the length that it is…
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When converting these things, you want to keep two things in mind- quality and render time. So are you working in an 8bit uncompressed timeline? Is the Flip footage SD or HD?
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I recently did a multicamera cut in FCP 7 and found that, seriously, I had to trash the preferences about every hour to keep it running smoothly. Talk about a PITA. My problem mostly was that I wasn’t getting a preview of the stream, just 1 camera, which somewhat defeats the point. Occasionally I would get the error you’re talking about. Kill the prefs, re-open, and be prepared to do so often.
My clips were DVCProHD 720p24pN, so seems to happen with lots o footage types. Hurray upgrades 😛
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And what format is the HD in?
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They move along fine for me, both as regular markers and chapter markers (which are the ones I use most frequently). It’s in a DVCProHD 720p23.98 timeline with same type of footage.
I’ve found that with FCP7 on 3 machines here (10.5.x), each has their own quirks. 1 will sometimes, but not always, ask you to render 44.1kHz audio in a 48kHz, 1 will change the sequence name to whatever you paste into the sequence and the the last has neither of these features. One newly 10.6’ed machine with FCP7 screwed up self contained exports in as so far as the audio being FUBAR.
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Well, theoretically, yes. There are a few things to be aware of.
1) What you record needs to be all the same frame rate, and since you’ve got a VHS recorder, that would be 29.97. Make sure the HD camera records in this frame rate, or syncing stuff up is going to drive you nuts.
2) FCP has a multi-camera functionality, where you can sync stuff up and then “call” it like in a television studio. However, FCP can only do this when the video is of the same codec and framerate, which yours will not be, so this won’t work. However, you can easily put your video streams on different tracks and cut between them the old fashioned way. -
Other than fast forwarding the tape all the way to the end, rewinding it to the beginning, and asking the deck nicely to work, I know of no other voo-doo to get it to work. When you tap out to a real monitor, same thing? Blue screen of nothing? Any audio?
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Are all the tapes the same brand?
Were they all recorded on the same camera?
Any chance the tape was exposed to humidity or got wet?
How long has it been sitting around in a decent environment? Might just need a few days to chill out, literally.
What does the tape actually look like? No noticeable schmutz on it?
And do you have a head cleaner you can run on the deck?I’ve seen mini-dv tapes recorded on consumer cameras that will play back ONLY on the camera it was recorded on. And it’s not a consistent thing, so user A can use any deck, any camera to playback his tape, user B gets the blue screen of nothing, or even better, a ventian blind look on his tape, but when put back in the original recording device, somehow it plays back just fine.
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Well I’m not Walter, but I’ve used Wacoms for almost 10 years now. Love them to death, and it’s really helped out with my wrist tendonitis.
Right now I’ve got the 6×4 and the 12×8 in action. Most of the time, the 6×4 is fine for video editing, some keyframing in AFX, etc. The only time I really need to use the 12×8 is when I get started doing some heavy Photoshop action with touchups, or making b-roll out of next to nothing (hah). They all work really well over 2 monitor screens as well.
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Do you have Adobe Premier CS 3 or 4? It’s a bit of a workaround, but you can import a self-contained quicktime file of your FCP project into Premier and then output it to an .MXF file. I can’t remember if it makes the contents folders, but it does work. I had to use this function in Premier when I was working with filmmakers on a PC with CS3 and we couldn’t figure out how to export a good looking, full res quicktime from footage shot on the HPX-500. FCP saw the folder and ingested it like a quicktime, ala the usual Log and Transfer P2. I was pretty amused that it all worked, but it does.
If you need more info, I can look at Premier and try and remember how I did it.