[Rose Glandfield]

Thanks for that,it does work, but what a ridiculous workaround to have to do! It really isn’t practical for me, for many reasons to have to capture in 5 minute long chunks. Think Apple need to sort this out!

[Rose Glandfield]

[Sean ONeil] “‘m a little unclear about the 59.94. Was that footage actually shot at 59.94, or was it shot at 23.98 like the other stuff but you accidentally captured at 59.94? I’m assuming it’s the latter, right?”

Yep, that’s right. I had real trouble getting FCP to see the video, although it had no problem controlling the deck. After about 6 hours of trying various different permutations of deck settings and FCP easy setups, the only setting FCP seemed to accept was to capture the 23.98 footage at 59.94.

I didn’t think it’d be a problem until I tried to make a multicam group using that and some other footage captured at 23.98 and it wouldn’t let me. I think I’m going to convert the footage I need to multigroup using the Panasonic frame rate converter – am I right in thinking I can cut the rest of it straight into the timeline then render it?

[Rose Glandfield]

Ok, that’s what I’ll do….

[Sean ONeil] Regardless, 23.98 footage needs to be edited at 23.98. Regardless of whether or not you will end up outputting a 60p tape or EDL.”

The sequence has a timebase of 23.98, and the bulk of the footage is shot at that rate, the problematic stuff is the extra footage I’ve captured at 59.94 and the Pal / 25 P footage.

At the moment, I’ve just captured both the Pal and HDCam as DV Pal and am able to edit them straight into my sequence at that frame rate – do these and the 59.94 need converting before I transfer the project or will the frame rate be converted simply by dropping them into the sequence?

Sorry if I’m being a dense about this, just got timecodes and frame rates swimming around in my brain!

Thanks

Rose

[Rose Glandfield]

The reason I was planning to get it reconformed elsewhere is that it is a real hotchpotch of formats – Pal DVCam / NTSC Beta / DVCPro HD 24P / HDCam 25p

I don’t have the tape decks or appropriate video cards to capture all this media at full resolution at my disposal or to play out a full res, I’ve managed to do everything up to now through firewire.

I was imagining reconforming at a facility with all the equipment would be the best plan. Would a better idea perhaps be to transfer the project with media to a FCP set up in a facility, and just recapture the necessary material and play out from there?

[Rose Glandfield]

The timebase for the sequence is set to 23.98. It’s greyed out and wouldn’t allow me to change it even if I wanted to! Is that right?

You’re right about the timeline timecode – that’s what I was trying to say (not very clearly!) ie – that the source timecode of the 23.98 clips within the sequence are in a 60fps format with numbers skipped in 2/3 frame increments.

So that being the case, is it safe to edit the 59.94 footage straight into this timeline unconverted without causing any horrible repercussions when the conform happens?

[Rose Glandfield]

Thanks for your replys

I’ve converted a couple of clips using DVCPRO HD Frame Rate Converter – seems to work fine, but there is a discrepancy in timecodes between the converted clip and the original, eg. one converted clip is 7 frames shorter then the original.

It’s a 30 minute clip so 7 frames doesn’t make a huge amount of difference but will this cause problems when trying to locate original source material in the conform?

Also, I’ve noticed that in sequence settings, your choice in terms of DVCPRO HD 720p compressor is limited to 50 / 60 fps, no 23.98 / 24 setting,and even though the editing timebase is set to 23.98, all the 23.98 footage currently in my timeline when you look at frame by frame is actually 59.94 with pulldown anyway!

This being the case, what is the advantage of converting the material before inserting into my sequence?

Hope this makes sense to you – only just makes sense to me!

Thanks

Rose

[Rose Glandfield]

Thanks very much Rob

The deck arrived just after I left my post, and, through a process of trial and error (!) I deduced for myself that DV Pal is the way to get it in . All captured now and t/codes all seem to match so that’s great! (And has saved me a lot of money on dubs / capturing elsewhere!)

Cheers

Rose

[Rose Glandfield]

Thanks for all your responses.

I am using Quicktime Pro (7.3)

I have had no problems using FCP 5.0.4 on this system, but will nonetheless upgrade.

The problem is with Quicktime, however. Sam, you say I need a “newer, Universal Binary version of the Quicktime component(s) in question”

Where can I get such a thing from?!

[Rose Glandfield]

Yep, opening it on the same computer…… any other thoughts….anyone?

[Rose Glandfield]

[Tom Wolsky] “FCP is not an Avid. It does not work like an Avid. It is very different. If you try to run it like an Avid and use Avid terminology you’ll be frustrated. You asked for switching between the viewer and the canvas.”

I am all too aware that FCP is not Avid. Deficiencies like this make me yearn for a Media Composer, but I am certainly under no illusions, and have at no point used ‘Avid terminology’: Viewer / Canvas would otherwise have been described as Source / Record Monitor, no?

And I didn’t ask how to switch between the viewer and the canvas in my original post, I asked how to “Toggle between the viewer / canvas in the timeline”

Being able to view the contents of your viewer in the timeline is really useful on longform documentary projects where you have several complicated sequences to cut into each other. I’m sure it wouldn’t be beyond Apple’s capabilities to add this feature in the future.