[Paul Lumsden]

Sorry, not sure I understand you… F9 & 10 keys are allways mapped like that, or at least they are for me. Not sure why you mention it?

To create the OMFI, I put the new subclip into the sequence and export it as an OMF. My worry is that the Pro Tools op will not have the sound files they need due to the nesting/new subclip.

I’ve done a test (he’s yet to reply) but I was wondering (as all metadata is intact) why this would cause a problem?

[Paul Lumsden]

no worries fella, it was worth a go. i got a very quick reply from mike at divergentmedia about this –

Paul,

The current version of ClipWrap does not support mts files. We have
announced that our next version will, but it is not available for
purchase yet.

mike

as the the file structure, i tried to import the data at several ‘levels’ (if that’s the correct term?) going from the AVCD folder with all the relevant data included to the individual .MTS files. this is a method i’ve used coming from P2 cards and i’ve not had a problem.

i’ve just tried importing via my magila directors cut box, but the footage looks (unsurprisingly) awful. i may see if a mate with a pc can import – export the .MTS files in a format FCP can read.

[Paul Lumsden]

cheers for that, i’ve given it a go and it looks like it doesn’t recognise .MTS files. i’ve emailed them though.

[Paul Lumsden]

heya,

i’m having the same problem. i used a canon legria hf200 as a back up for a shoot. i copied across the files from it’s sd card onto a local drive. upon importing into l&t, a window pops up saying –

“AVCHD” contains unsupported media or has an invalid directory structure. Please choose a folder whose directory structure matches supported media.

the files are all there, and i can play back the media on the camera. i’ve tried converting the mtf files in mpeg streamclip and visual hub with no luck. i’m running fcp 6.0.6 so i’m assuming everything’s up to date…

the only way i can see round it is to go through my analogue to fire wire box and crash import which seems a shame..

is there another software codec out there i need to get? or is this format really only for windows based computers?

[Paul Lumsden]

Ah, the old drag and drop!

Nice one, that’s sorted it. Cheers fella!

[Paul Lumsden]

Herb –

I don’t know what you mean by “arced”, 16:9″fha”, or 14:9″lb”. I especially don’t know where you got the 14:9 aspect ration from.

‘arc’ is a shorter term than the full phrase – ‘aspect ratio conversion’. an arc is ofen a rack mount unit, such as – https://www.snellwilcox.com/products/data/conversion_restoration/tbs190addata.pdf
however, one can do a basic (and often inaccurate) arc in the motion tab of fcp.

’14:9lb’ is the aspect ratio one gets as a result of arcing 16:9fha for tx. this arc is generally for regions that cannot tx in 16:9fha.

16:9fha is this – https://en.wikipedia.org/wiki/Anamorphic_widescreen
14:9 lb is this – https://en.wikipedia.org/wiki/index.html?curid=1643227

the delivery is on digibeta, for terrestial and satellite tx. aspect ratio needs to be in 16:9fha. hence my problem of using film and old video footage in the cut. so far i’ve found ediitng in a 16:9fha sequence and doing a ruditmentry blow up on the 4:3 footage to be the best, but not an ideal solution. which seems to be one of your ways of approaching this problem.

i’m just wondering how other people have done this…

just incase you’re not familiar with the term, tx is short for ‘transmission’.

sorry if the lingo is a bit obscure/odd to you. i work in television in the uk and i know not all standards and phrases are the same elsewhere in the world.

[Paul Lumsden]

Dave –

Does this mean simple letterboxing of the 720×480 frame?

Herb – Yes

just so i understand this – do you mean you’ve arced 16:9fha to 14:9lb in a 4:3 sequence? then to ‘fit’ in the 4:3 footage you’re adding a mask to create a 4:3 letterbox that matches the letterboxing of the (now arced) 14:9lb footage?

i’m only asking as i’m about to direct a live shoot where i’ll be using 3 x DVX100’s, 3 x super-8’s and 1 x VHS-C camera’s.
the VHS-C is 4:3 native, the super-8s are very close to 4:3 and i’d like the DVX100’s to shoot in 16:9fha. i plan on cutting in a 16:9fha sequence, using pan and scan arcing to insert the non-anamorphic footage. to make life a little easier, the VX’s will be shooting on SD.

i’m fine with the loss of quality, as the mixed formats/resolution is what the client wants. i’ve run a few tests and the only drawback i can find is telling my camera ops to bear in mind the picture loss of about 33.3% on the vertical.

can anyone else see where i may end up having a problem, and in a few weeks time i’ll be wishing i’d done the whole thing in 4:3?