[Seth Marshall]

I’m a little late to this but really feel for you. If all else has failed I would try to save it by seeing if B&W is any better

[Seth Marshall]

might not help in your situation but could help someone in a panic attack like I just had when this just happened to me.

turns out my operator accidentally switched slots so when i pulled card one it was empty. I never checked to see if there were mts files on the card, I just assumed there was. The card mounted but wouldn’t show up on log and transfer so I started freaking out. But it was empty.

[Seth Marshall]

Thanks Chris. I completely agree hard drives are cheap. Which is why I have 20TBs of hard drives at home. The timelapses start RAW, get converted to TIFF, but every attempt to create a mov from a TIFF has failed. Each TIF frame is 60MB and this timelapse for example is 4900 frames. That’s why I convert to JPG and yes I already created the movie out of them with QT. When I said photo-jpg I’m talking about the VIDEO photo-jpeg codec, not actual photos.

Yes, this is compressed but much less so than ProRes and is closest to my original format.

I did a test creating a movie from just a few frames and that one drops in nicely into a timeline without a render bar. It appears QT will create a mov file from jpegs even if one frame in there is somehow different from the others. Different how, I have no idea, but it seems when bringing that into FCP (when a frame is off somehow) the entire clip needs to be rendered. In the past I’ve never had an issue like this before and never have needed to render…

[Seth Marshall]

Thanks for the response. I must disagree with you though. In the past I’ve never had a red render bar with this workflow.

If I take any photo-jpg clip (except for my current project for some reason) and drop it into a sequence with matching settings I never have the render bar. Real time or not (doesn’t matter to me) I’ve never had to render so long as my clip matches my sequence. Though you may strongly suggest ProRes is the best route, it is not true to claim one must be using it. In my circumstance and many others going ProRes is not an option.

For one ProRes doesn’t dance politely with After Effects. Plenty of people don’t use ProRes because of this reason. ProRes is certainly not the only option like you’re suggesting.

[Seth Marshall]

thanks for replying. I took a look but that wasn’t was I was trying to do. Very informative though! I think what I was attempting isn’t possible.

[Seth Marshall]

Thank you! That’s what I needed to know. And now I know. I am realizing that exporting and recutting, so long as I stay in ProRes and am not doing FX (when I said FX I just meant speed), shouldn’t really be lossy since it’s referencing the source clips anyhow. thank you!

[Seth Marshall]

sorry Jerry, I updated my last post with more info but you responded so fast! (thank you for that!)

This will help explain my situation better. It’s not for a portion of a sequence that needs effects. It’s for copying the cuts from an entire sequence.

I had a final cut. Realized I needed to speed it up more by cutting out parts and making speed adjustments. So I exported and created a new sequence with the export. After spending many hours doing that I learned about nesting (DOH!) which would be the better way to do this. So I now want to do all edits from that first sequence and apply them to my newer nested sequence (instead of going through edit by edit and recreating them

[Seth Marshall]

thanks for the response Jerry.

What I mean is more about copying the edits from one sequence to another. My FX are mostly speed changes anyhow.

I’ve done a lot of little cuts that I now want to duplicate on my nested sequence (now that I’ve learned how to nest). This isn’t for a portion of a sequence but an entire sequence altogether.

I had a final cut. Realized I needed to speed it up more by cutting out parts and making speed adjustments. So I exported and created a new sequence with the export. After spending many hours doing that I learned about nesting (DOH!) which would be the better way to do this. So I now want to do all edits from that first sequence and apply them to my newer nested sequence (instead of going through edit by edit and recreating them

[Seth Marshall]

That is not an option. The production requested a hdx900 and will not go for tapeless. Of course I would prefer the 3700, which again is why I’m considering saving money by buying used.

I’ll look in used broadcast area but am open to more suggestions.

[Seth Marshall]

Pete, thank you so much for coming to the rescue! I’ve literally spent 10+ hours actively trying to figure this out. It sounds like your method of correcting what I’ve done is to go back to my first keyframe, setting it to 100%, then working my way across the timeline correcting each keyframe position one by one.

Unfortunately my composition is more complicated then I have described. From the beginning I’ve keyframed a 300% speed increase because starting at the beginning I need it increased 3 times speed. The time lapse is a construction site and as construction winds down I increase the speed to say 600%, then at night when there is no construction I go to 1000% (not 100%). This goes on for a few days with additional speed changes. Ultimately I go down to 100% for a fashion show then back to 300% for when they take down the set. I’ve laid dozens of keyframes across 11 minutes of footage, all are perfectly set when looking at display mode set to “source” Of course when I change it to Twixtored output “everything” gets messed up.

I now understand it needs to be in Twixtored output mode. But do I have to go through the footage all over again replacing the keyframes? I am hoping there may be an easier solution especially since I have them laid perfectly already.

Does my situation make sense? Thank you again so much for helping me with this!