Shane Ross
Forum Replies Created
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Well…hopefully the quicktime conversion retained the TC information…it has a reputation for not. Check the footage in the timeline and see if it has the same TC as the DVCAM tapes. If so, then you might be able to delete the media…BUT RETAIN THE CLIPS…and redigitize.
But I am not to sure about this. This would be the way to go if you captured with FCP in the first place, for the clips retain the TC info. But digitizing with another system and exporting to QT and importing to FCP…Not many people have done this so we don’t know what will happen. Sorry I can’t give you a better answer.
You might end up (rather unfortunately) recapturing all the footage off the DVCAM tapes and eyematch-cutting the short film all over again.
Hopefully one of the people who has done this route before will read this and offer a better solution.
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[j.north] “Is FCX stupid or something?”
In a way…
It is a very simplified version of FCP. Not nearly as many options. And it is designed to work with DV material ONLY. NO analogue input, and only a controllable DV camera. It does not have the uncontrollable device option that FCP has.
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HDV is the lowest form of HD there is, and it is HIGHLY compressed. It is to HD what DV is to SD. And because of it’s compression scheme, it is very difficult to work with, and has lots of artifacting when you have fast movement or the camera moves quickly. Blowing it up to film will produce a very less than desirable picture…the only image worse than it to blow up would be DV.
If you were thinking of shooting on film, shoot on film. If not, then seriously look at HD CAM. The LOWEST form of HD I’d recommend for film blowup is DVCPRO HD, and even then it is a compressed HD signal.
But please..avoid the HDV bandwagon. Cheap in, cheap out.
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When I log a clip, I park the tape where I want the in point, mark IN, then scroll to where I want the out point, and mark OUT. Then log the clip. The clip will have the IN point and Out point that I set. Then, the IN point in the batch capture window will default to the frame my last out point. Unless I tell it different, that will be the IN point.
Is that what you are saying? Or are you saying that no matter what manual IN point you set, when you log the clip it reverts to the last frame of the previous logged clip?
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100 FCP systems? Sounds like Bunim/Murray…
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Mike,
I will echo what other people are saying and you are not really hearing…
You do not need QT 7 if you are running 10.3.9. QT 6.5 works just fine.
I hate to be one of the people going “nyah nyah nyah…it works for me…nya nyah nyah” but it DOES work for me. And it works for several OTHER people as well. This would suggest that something else is up…something else is causing your woes. Sure, it might have happened when you did the upgrade, but the upgrade might have caused the problems in other ways.
I don’t know what else to say that will convince you.
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To E-X-P-A-N-D on Leo’s answer…
The footage shot with your DVX-100 is recorded onto the tape at a 5:1 compression. When you capture that footage, all you are doing is a digital file transfer, transferring the data from your tape into your computer. No loss of quality…but still compressed 5:1. There is no way to get more since that is what is on the tape.
HOWEVER…if you want to work in an uncompressed 8-bit or 10-bit timeline, if you have lots of text, graphics, green screen effects, then you can do one of two things: 1) purchase a capture card and capture the footage at the higher resolution (8-bit, whathaveyou) and work with that footage (recommended) or 2) capture the footage thru firewire as normal and drop it into an 8-bit uncompressed timeline and render it and work from there. The drawback to this is that you will have to render each time you make a change to the timeline interms of adding a clip or changing a clips duration…AND you will then have no way to get this timeline out to tape without a capture card. You couldn’t burn a DVD of the final, but if you need a tape, it is best to go with option 1.
Again, you wouldn’t be increasing the resolution of the source footage, but rather working in a timeline that allows for your compositing and graphics to be sharper and better.
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Sorry, but you are outta luck on both counts.
The virtcal bar…the playhead…can’t be automatically followed in the timeline, you’ll have to manually scroll with it. Pain in the butt, I know. I want that feature too.
I also want the feature that will just add a dissolve to both tracks at once, like my trusty old Avid. But, again, FCP treats video Cross Dissolves and audio Dissolves differently, so they have to be done separately. I have two mapped keys…one for each.
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One reason is that you are taking a high resolution PSD file and then rendering it in the DV workspace…720×480 72dpi. Plus…
Shane’s Stock Answer #2:
1. Disable overlays on the canvas
2. Make sure you’ve rendered everything (no green bars at the top of the timeline
3. Upgrade to 10.3.8 (many people had this crop up when they upgraded to 10.3.5)https://docs.info.apple.com/article.html?artnum=24787
DV footage requires large amounts of data and many computations. In order to maintain frame rate and be viewable at a normal size, only about one-fourth of the DV data is used in displaying the movie to the screen. However, the DV footage is still at full quality, and is best viewed thru a TV or NTSC monitor routed thru your camera or deck.
For this, and other exciting stock answers visit http://www.proapptips.com
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If you shot 24P, the framerate you shot at was 29.97, not 23.98. You should be importing ALL your footage at the 29.97 frame rate.
Only 24PA (advanced) should be captured at 24fps (23.98).
As for why it is falling off when you put it in a 23.98 timeline and render, you have me. I have only worked with 24P footage at the 29.97 framerate.