[Philippe Gariepy]

My AutoSave vault is on the system drive, so there’s no problem with that. It’s just that I can lose up to 20 minutes of work just because of this, and it an get tiring.

Also, the main problem is that I can’t save a copy on the desktop. I tried it a couple of times. I can’t save anywhere. Any idea why this would be happening? Does it have anything to do with the external hard drive. I know that Lacie is not the most recommended brand, but I never had any problem before with them.

[Philippe Gariepy]

Actually, the video will be an Internet trailer, so I guess I might as well just go 29,97.

Small question while we’re at it : what is the craze about wanting to shoot 24p instead of 30p or 29,97? What real difference does it make if it ends up being seen at 29,97 all the time. This might seem like a newb question, but every time I start juggling with timeframes, I end up being confused.

[Philippe Gariepy]

This makes sense.

So, just to clarify : I would definitely be better off editng a 29,97 fps timeline, with my 7D footage compressed to fit it in Compressor.

Excellent. Thanks everyone, this was extremely helpful. If there is anything else I need to know, let me know.

[Philippe Gariepy]

Yeah, I forgot to mention that there wasn’t any synched sound involved in the edit. Both cameras are equally important as they were both filming the same event at the same time and we have to edit a small trailer for the event.

I might want to avoid the slo-mo effect. Is there any other way to avoid this?

[Philippe Gariepy]

So basically, my best bet would be to edit in 29,97 fps and retime the 7D footage to fit, is that right?

While we’re at it, what’s the technical reason why it works best this way and not the opposite? I would have thought that it would look better going from 29,97 to 23,98 because it would mean, in my mind at least, removing some frames, as opposed to creating new ones. Anyone has the time and will to clarify this?

[Philippe Gariepy]

“H264, as you know, is not an editing codec”

I know that. As I said, I will transcode everything in Apple Pro Res before I start to edit. What I’m wondering is : while I compress the 5D footage, should I do something else to turn it in 23,98? Or should I leave it in 29,97?

I’ve never worked with CinemaTools or had to change frame rates, so my question might seem a bit ridiculous, I just want to make sure that my workflow is the best one for the project. And this project requires me to play with footage with different frame rates. I know that it’s not ideal, but I have to deal with what I’m given.

[Philippe Gariepy]

Why isn’t the sequence setting the same as the clip’s codec?

[Philippe Gariepy]

Honestly, I’m pretty impressed that that’s the solution I found that worked the best for me. From the moment I start my first XML export to the open project in AE, it takes me 10 minutes. Extremely easy.

I’m also quite happy to not have bought Automatic Duck, since the only thing it would have done for me would have been to save two minutes and one third party app.

[Philippe Gariepy]

Alright, I found a solution, having nothing to do with what we were talking about, and it worked. I found it on the RedUser forum deep down in the middle of a 15 pages topic. Here’s how I did it, if someone else has the same problem. It’s probably far from perfect, but so far, it has worked for me.

I start by exporting an XML of my sequence.

I then bring it in Clipfinder and click Tools –> Run Conform On FCP XML File.

In the “XML Input File”, I choose the XML I just exported. In the “XML Output File”, I save the new one. Choose “Replace clips with : R3D” and adjust the sequence to the size of your biggest RED file (or basically, the size you want to work with). You now have an XML file of your FCP sequence, but with all the r3d files reconnected

I then import the XML in Adobe Premiere and from there, I can send it to After Effects.

Of course, you need both Final Cut and CS5 to do this, and you can’t send the sequence back in Final Cut afterwards as a sequence, but it works without any problem for me right now.

Thanks a lot, Brian, your help was greatly appreciated.

[Philippe Gariepy]

I tried to do this, but at the first step, something doesn’t work for me : in my offline sequence, I don’t have .r3d files, only .mov files (the 422. How can I reconnect those ProRes files with the r3d ones?

Just to make sure, here is how I did my offline sequence :

– Right-click on the sequence I want to export –> Media Manager
– Create offline
– Set sequence to (custom created 4096 X 2304 preset, REDCODE compressor –> not too sure about this part)
– Base madia files names on : existing file names
– OK

After this, I open the Log&Transfer window, ingest all my original RED footage in the browser window. I then right-click on my offline sequence and Batch Capture.

What that does is give me 2048 X 1152 ProRes files in a sequence of 4096 X 2304. I assume I did something wrong along the line, or I’m completely off the road on this one. What do you think?