[Rienk Leendertse]

shane: “that seems foreign to me, as this must to you.”

No, I’m just bi-lingual 😉

Rienk

[Rienk Leendertse]

Yep, this must be it.
In the dsr menu you can choose between 9-pin remote and i-Link, which is Sony-language for FireWire (which is apple language for IE1394

Rienk

[Rienk Leendertse]

hi anthony.

first: don’t hijack threads. this is a new topic…

I think FCP imports many different graphic formats.
See the manual for that. There’s a list.

Make sure you’re using an uncompressed format and have the transparancy preserved (‘Millions+’ colors)

Rienk

[Rienk Leendertse]

Try to copy parts of the sequence and make EDL’s from that.
That will help you to find the problem.

Also never export more than 4 audiochannels per EDL
never export more than one videotrack per edl (use Target Video Track Only)

So a sequence with 3 videolayers and 8 audiotracks will produce 3 edl’s:
v1 +a1234
v2 +a5678
V3

Also
speedchanges higher than 300% can be troublesome
graphics can be troublesome

All the best
Rienk

[Rienk Leendertse]

Have a look at automaticduck.com and send them an email with your question.
It will bring not only a sequence, but a whole project to FCP if you like.
Not sure if it supports 24 fps projects.

Not sure if the EDL-way will work either. Don’t think so.

Rienk

[Rienk Leendertse]

I think you can’t make a log with a BVE (directly)

You CAN create an EDL
– Then strip everything except from REEL, Source In and Source out from that EDL.
– In Excel (or other) change the column heading to the proper names (See FCP manual about proper column names) and save that as plain text. FCP is very critical about that.
– Import it in FCP as batchlist.

NB 1: Outpoints will be off by one frame (because of the difference in defining outpoints between BVE’s and FCP; see replies to your other post)

NB 2: From the BVE, make sure to save as CMX3600. The Sony EDL’s are in JIS instead of plain text and will leave you with a lot of strange characters in Word or Excel.

Rienk

[Rienk Leendertse]

Hi all,

Shane: “But I guess that is because I was raised cutting on film and Avid.”

Yeah, that must be it, because I can put something against your logic: Calculating in FCP and AVID is weird.
If you have 5 pizza’s and you take 2 of them, you’re left with 3 pizza’s, right?

In the tape to tape world this would be:
In 00:00:00:02 Out 00:00:00:05 –> Duration (5-2) = 00:00:00:03 (frame# 2, 3 and 4)
Makes sense.

In Avid and FCP:
In 00:00:00:02 Out 00:00:00:05 –> Duration (5-2) = 00:00:00:04 ?!?!? (frame# 2, 3, 4 AND 5).
Now that sounds unlogical to me.

The difference between Tape to tape on one hand and AVID and FCP on the other is that Tape to tape is counting as if it is always SLICING BEFORE the mentioned TC.
Avid and FCP SLICES BEFORE the IN frame, but AFTER the OUT frame.

Bottomline is that both procedures basically have the same problem with outpoints:
– Linear: When searching an outpoint you think: Yeah, this is the last frame I want to use in the shot. And then you need to add 1 frame (step right) and give an outpoint.
– IN Avid/ FCP: On the canvas side (Overwrite) you think: Here I want to come back to the original shot. So I have to step back 1 frame to give an outpoint.

Boy. Is this confusing bothways or what?
It’s just what you are used to.

Rienk

[Rienk Leendertse]

Yep,

A patchpanel or a router is the way to go.
You just looked for the wrong item (videoswitcher)…

Rienk

[Rienk Leendertse]

John, It’s not about the bit depth, but about the sample rate (other column in the browser).
The manual gives you different ways to convert one sample rate to the other.
But still then. Because the sources were not locked to some syncgenerator or to each other, you might have troubles anyway. They probably just recorded on a different pace.
Try the sample-conversion first. And you might need to stretch the housemix audio as well (can be done in ProTools (or in FCP, but then it shifts in ‘tonal height(?)’ (is that english?))

Rienk

[Rienk Leendertse]

Sorry to disagree with FXbear and Sacci.
I had lots of trouble by daisychaining my FW drive and a camera.
On http://www.adamwilt.com you can find articles about this topic.
Main idea is that a daisychain takes the speed of the slowest device in the chain.
For FW drives this is 400mbit/sec
For FW800 (I suppose) it’s 800mbit/sec
BUT FOR MOST DV cameras this is 100mbit/sec WHICH IS TOO SLOW FOR YOU DRIVES.

SO although it works on some setups it might as well not work!
FOr me the solution was to buy a FW PCI card. Connect the drives to that and connect the camera to the G4’s own FW bus.

Also: on the G4 and G5 there are two (or more?) standard FW-ports, but THEY ARE ALL ON THE SAME BUS, so everything connected to them is actually daisychained.

I don’t know about the MacMini, can it handle PCI Cards? If yes, then that’s the wau to go.
If not than buy your disk if your upgrading in a short period anyway.
Try if it works and you might get lucky. But be carefull: Re-digitizing material that had dropframes during capture is like H#ll.

RIenk