Shane Ross
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Then you bring in the ProRes files…and the audio…look for the sync point, like a slate clap (if you are lucky)…or door slams…something with a hit. And mark IN points on the Video, and the audio, and then MERGE CLIPS. This will make a NEW clip with the picture and audio tied.
Shane
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If it’s a newer camera, no. FCP 7 was discontinued 6 years ago…no updates have been made. Meanwhile, the AVCHD format is always updated, and every camera uses a different variant. So FCP won’t be able to interface with that camera directly. nor MXF. If you want to continue using FCP 7, you’ll need to look at third party converters to convert the footage, like EditReady.
Shane
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So you aren’t having the audio mixed by a professional audio mixer who will then provide audio stems that you lay out in track order? What the editors mix on the timeline will be the final mix? Are they good enough to make this meet the audio tech requirements? I mean, I do a pretty good temp mix, but I always send the audio out to get professionally done
Shane
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Most of the time I work at a large production company that does History channel shows…we have 2-3 AEs on at all times. Another smaller company I online for has an AE (3 editors). And I’m currently editing a feature doc, and we have an AE.
Shane
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Sorry…NLE is NON-LINEAR EDITOR. Editing application, basically.
Shane
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Resolve also has regular XML export. It’s near the bottom of the options. I use that a lot as I need to go to FCP 7 to convert the XML to work in Sequence CLip Reporter for clip reports.
Shane
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Quicktime is wrong. Everything else is right. QT is wrong a lot when it comes to reporting frame rates.
Shane
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This the same David Carr that worked at Beantown?
Shane
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Well, copy and paste into the 1080 sequence. But know that you will have to manually resize all the clips.
Shane
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