Sean Oneil
Forum Replies Created
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Thanks, I’ll try it tomorrow on a G5 w/ Leopard we have as well. I tried dozens of audio files. Stuff from our music library even. I don’t think sending you one is going to accomplish anything.
Sean
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Like these guys said, doing you offlines in 24p is the ultimate solution. You’ll still have to change motion settings whenever you change the frame size in FCP (Avid doesn’t have this problem supposedly).
I cut trailers too BTW. If you do the offline in 29.97, one trick I’ve learned is when it’s time to finish, capture the whole HD version of the movie in 23.98. You can do offline quality HD or do ProRes if space is an issue.
Then change the timecode format of the newly captured movie to 30 NDF (Modify -> Timecode) and then reconnect the media to the original project. Copy and paste attributes to fix most of the Motion tab settings.
Once the sequence is in order, I believe you can change the timecode back to 24-base (in order to keep it non-destructive). From that point, you can use Media Manager and then recapture used media only in Uncompressed quality.
Sounds like a lot, but it’s a hell of a lot better than doing the EDL thing.
One thing, it only works if the offline has NDF timecode. You can’t assign DF timecode to 24p footage.
Sean
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[John Pale] “Strange thing is, I can’t duplicate what you are talking about. I can bring the same 48k AIFF file into a PAL or NTSC sequence without any issues (No green line, rendering, etc). Not sure what is going on at your end.”
Changing the sample rate is changing speed in a sense. That’s how FCP and Cinema Tools change the assumed playback speed in order to conform audio to different framerates.
I just trashed my preferences and it’s still happening. I’m re-creating the problem with every single WAV and AIFF I have on my machine. What are you running?
My system is:
Intel Mac Pro
FCP 6.02
OSX 10.4.11
QT 7.4.1
AJA Kona 3 installed, latest Tiger driversSean
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Use QT player to convert the WAV files to AIFF. That’s all I can think of. Could be a serious problem or the person who recorded the audio screwed something up.
Sean
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[Mike Mallen] “The issue with capturing at 24fps is that the DVX100B basically records as if it were film, adding the telecine as it lays it to DV. Which means I have to capture at 29.97, then perform a reverse telecine.”
If you use a capture card (Kona or Decklink) you can remove 3:2 pulldown on ingest (you just need to identify the “A frame”). If all you have is Firewire, I’d still recommend removing the pulldown (using Cinema Tools) prior to editing anything.
I have had some unusual, albeit rare issues with JES when I use ProRes. Some strange issues where the QT file it creates causes problems with Compressor. I’ve never had a problem using uncompressed footage with it and if I run into an issue, I just export it as uncompressed. Haven’t tried it with DV, sorry.
I would export QT DV, not a raw .DV file.
Sean
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Before tossing those cables, you might want to have them tested for shorts or mis-assigned pins. Maybe someone from another department at your school can help (engineering student or something). Because if you do find a bad cable, you can at least rest knowing you’ve identified the cause.
Sean
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Sounds like the audio was recorded at 24.00 instead of 23.98. Either that or Quicktime is mis-interpreting it as such. Speed it up by 1% exactly, and it should sync up perfectly. Or use Cinema Tools to conform it.
Sean
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The FW ports on those cameras are likely toast. I’m sorry. Normally I wouldn’t jump to that conclusion, but from what you’ve posted that is probably the case.
Figure out every single piece of equipment those 6 cameras have been plugged into, including cables. And do NOT plug anything else into that gear.
There are no viruses for cameras. Someone could possibly use a firmware updater utility to damage it, but it would be unique to each brand of camera. The culprit would have spend countless hours reverse engineering the code for six different cameras.
6-pin Firewire (the big connector) has 2 pins for power. But on the camera end (the mini connector) it is data only. If I had to guess, I’d say that power voltage was introduced into one of those 4 data pins. Perhaps maliciously. Some troubled student could easily potentially switch the pin configuation on a FW cable that would send voltage into a data port.
Or it could be a bad circuit in your building, a bad power strip that all the chargers were plugged into – who knows. It’s not a virus though.
Sean
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[Mike Mallen] “I’ve tried to run an inverse telecine on a particular media file, and the exported result has an audio slip. I lined it up in Final Cut to compare it to the original file, the audio isn’t actually the issue, the video is what is getting progressively shorter as the clip progresses.”
You are converting to 24.00 or 23.98? That could explain the audio drift.
[Mike Mallen] “I’m trying to run a deinterlace, then convert the 30p progressive footage to 24p with quicktime conversion (which I think will effectively do the same thing?). Any suggestions, comments or advice?”
That won’t work. Final Cut won’t know which frames are the dupes. So you essentially have a 1 in 5 chance of FCP getting it right. Recently I recommended someone do this (maybe you read that?) because their footage was 18fps. Your case is different.
JES is a great bailout tool, and it’s great for dealing with old footage. But if you shoot @ 24, then there’s no reason not to capture and edit @ 24.
Sean
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[walter biscardi] “Ironically Pixar produces the absolutely most incredible BluRay discs on the market. If you have not seen Cars or Ratatoulle on BluRay, you haven’t really seen what the format is capable of. Wonder what they’re using to compress and author……”
Not to be sour grapes, but I’m sure more than anything it has to do with the fact their stuff is animated. Animation compresses much better than live action.
I think all the premium places use Scenarist for authoring.
Sean