[Ron Craig]

Wow, what a bummer.

Well, thanks for the information. At least I know it isn’t operator error (as usual).

And to think of all the versions of After Effects I have purchased and used through the years…and the fact that I just upgraded to the newest version with expectations that it would play nicely with my new High Def studio! Real bummer!

Since everybody but me (until now) seems to know about this, do you know if Adobe is doing anything to address this problem or is it so ingrained in the AE way of doing things that a fix won’t appear?

Are there any render settings in AE or Color adjustments in FCP that are shown to ameliorate this? Otherwise, I guess I’m going to have to learn Motion a lot better — and hope it has the capabilities that I need.

Bummer!

[Ron Craig]

Thanks, gents.

[Ron Craig]

Thanks!

— Ron

[Ron Craig]

Thanks David. I appreciate your pithy contribution. Taking your items in reverse order, what benefit do I get out of full raster? When I’ve worked with anamorphic material in the past I’ve been able to deal with it successfully in, say, After Effects or Photoshop. But perhaps being full raster improves the visual quality? I don’t know. Can you give me your thoughts on that?

As for 10 bit, that’s a pretty strong argument if I understand things correctly: Better color resolutions and values, right?

Thanks.

[Ron Craig]

Hi Russell,

Yes, we are shooting DVCPRO HD. I’m working with an Octocore with plenty of RAM and storage so I have the horsepower needed. But I’m interested in what you’re saying because I actually don’t know the benefits of ProRes very well. What makes you conclude that it’s worth my while to continue in ProRes and accept the rendering when needed? Sorry to ask such a newbie question but there’s a lot to learn in this area! Even for an experienced editor.

Thanks for your time and thoughts.

[Ron Craig]

If anyone has written an apple script for this that would be very nice.

Agreed!

[Ron Craig]

Thanks Walter.

I find that most of the problems I have are operator error.

However, two people here reported that they did, in fact, check the boxes to limit the number of audio tracks captured. And, frankly, my recollection is that I did, too. But we still got the excess tracks.

However, before swearing an oath that I did everything properly I will print out the specifics of your instructions and make sure I follow them strictly the next time I capture.

In the meantime, am I right that there is no easy way to eliminate all but two audio tracks from a group of clips?

[Ron Craig]

Thanks for your responses on this. I understand that the timeline can be set up to match how the footage was shot. However, that’s the opposite of what I’m trying to do.

If possible, I would like to import data from the Firestore in such a way as to have the imported data conform to the settings on the project that already exists, rather than have the project settings determined by the imported data.

With tapes I have no problem. I capture through an HD1200a deck and a Kona 3 card set at 720p 59.94 ProRes 422 (HQ). But I can’t run Firestore data through the Kona, of course. And when I import Firestore data into the project, that video comes in with its own settings, and requires rendering when it gets to the timeline.

We shot everything – tapes and Firestore – on the same Panasonic HDX 900 camera at the same settings: 720p 30 fps. I assume the Firestore data needs rendering when imported to FCP because of the project’s 59.94 setting. But Apple doesn’t provide a 720p 30 fps Easy Setup in FCP so I have to go with 59.94.

I have already captured almost everything I need from the tapes but there was a small bit of material that, due to unexpected circumstances, was recorded only to Firestore. Can I bring in that data into FCP a way that will match the existing project settings?