[Paul Dougherty]

Thanks Michael. Seeking the modern (tapeless) version of Tape Name I was hoping not to have to manually Modify every clip I ingest to add a Tape Name equivalent. I say this because SOURCE FILE you suggest only restates the (in this case) the MVI_#.mov name. That’s great to have after I change the clip name to something content related but offers no trace of a directory-folder that would show what bucket* these clips came from. You know this stuff inside-out and I’m pretty green, just hoping looking something more automatic if I am diligent about giving unique names to camera card directories.

*Yes I could start out with “card name” bins but after reorganizing and migrating clips to new bins I’d like to be able to sort (kindred) clips for review.

Best,

Paul

[Paul Dougherty]

I am test driving Media Composer 5 and it seems the “High Quality” proRes stutters considerably but not so the “regular” proRes Qt’s, DVCpro 720p60 or XDcam EX 1080p30 files acquired via Avid’s AMA feature. Given that I’m delivering to SD, I guess HQ is not the way to go. Still curious to hear about any parsing of ProRes “high quality”

I’m running MC5 on a MacBook Pro (2.53ghz) using firewire 800 drives.

[Paul Dougherty]

Shane, on rereading this thread I was impressed by your command of file based workflow, naming conventions, etc. I wanted to ask if you’d suggest further reading (a thread, article, whatever) for someone trying to bone up in a hurry to better work with complex projects (& often legacy ones that have been handed off to me).

Also you had said this (below) was the way to rename a directory (DVCpro example) to create the equivalent of unique reel numbers

UNIQUE CARD NAME:
>CONTENTS
>LASTCLIP

Extrapolating from that example a XDcam directory would be renamed thusly

Project X DAY1-CARD2
20100913225140
BPAV

and Canon…

Project X Card 2
DCIM
MISC

Assuming that this renaming with not interfere with Avid or FCP ingesting files correctly.

Thanks,

Paul

[Paul Dougherty]

Wow, thanks for the thoughtful thorough answer, a lot for me to mull over. Do you turn up “detail levels” in Compressor going to SD and if so how much? Do you find as I did it ups the processing time 4 or 5x?

I turned “detail levels” to 10 and felt the result looked sharper but not in a fake enhancement way. I think it was well worth it provided you have the extra time.

Paul

[Paul Dougherty]

After starting this thread I was pulled into troubleshooting a bunch of other issues. I have 2 follow-up questions. First the unique folder name people suggest I generate contains each card (directory) or cards from one camera’s shoot day? Like so…?

UNIQUE FOLDER NAME GOES HERE?
–>[Card01]
—->LASTCLIP.txt
—->[CONTENTS]

Also John had said “”there are a few third party tools that will save your bacon and link via Tape and TC” what are these tools?

Thanks in advance,

Paul

[Paul Dougherty]

Since it seems that the the AE motion gfx in the HD seq are place holders, this workaround was suggested on the AE List… hi-lite the clip in the timeline* under Modify “Conform to Sequence” . fcp doesn’t change the clip in the sequence once you change the check box (item properties) to anamorphic

*that I did in NTSC Widescreen but remained stubbornly 4×3

Paul

[Paul Dougherty]

Thanks Michael, I needed that.

[Paul Dougherty]

There might be more to it but… it’s possible one of the submasters I copied from was 960×720. Then pasting clips from that into a 1920×1080 Master seq… that those clips just don’t scale correctly?

[Paul Dougherty]

Thank you Tom. I got stuck in a lasso-drag mindset.

[Paul Dougherty]

The workaround I hit on is to “reveal in finder” which works. (to at least id the mstr clip without having to squint at TC columns) Seems strange not be able to matchback from a sub clip to its Master (or is it Parent)