Sterling Noren
Forum Replies Created
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Thank you for your help. I tried a simple test to see if FCP was able to relink to MOV files that were deleted and then re-created with XDCAM TRANSFER at a different duration, in this case full-length clips instead of sub clips. It worked, with some caveats.
What I did was this:
I used XDCAM TRANSFER to re-wrap 3 MP4 files into MOV files. Each one of the MOV files created in XDCAM TRANSFER was a “subclip”, or a shorter portion of the original file. I did not change anything in regards to the file name but XDCAM TRANSFER did add an additional “01”, “02”, etc to the file names representing the fact that they are subclips.
I then went into FCP and edited together a short sequence using the MOV files. Then I exported my sequence as a stand alone QT movie and closed FCP. I deleted the MOV files as if I was done with the project.
Next, as if a client had suggested further changes. I re-opened the FCP project. Of course, it could not find the media it was looking for. So I went back into XDCAM TRANSFER and re-wrapped the files again. This time, I did not make any subclips and used the entire media from in to out. Of course, there was no “01”, “02”, etc. added to the file names because I re-wrapped the entire MP4 files, not just subclip portions.
I went back into FCP and tried to “relink” to the new MOV files I just created. It worked, but I had to manually relink each clip. Here’s why: When you create a subclip in XDCAM TRANSFER it wants to append a “01”, “02”, etc. to the end of the MOV file name. This is so that it can create multiple subclips from a single clip and give each one a unique file name. That works fine on your first edit in FCP. But if you have to go back and re-wrap the MP4 files into MOV files, and you do the entire clip (no subclip) you wont get the “01”, “02”, etc appendage on your file names. So you will have to manually point these files out to FCP. It’s easy enough to do, as you just disregard the subclip appendage in the file name and relink to the correct file. It just might take a lot of time, depending on how many clips you have.
And it seems important that I did not originally change the file names using XDCAM TRANSFER either. Using the god-given, gerneric EX-3 file names made it pretty easy to do.
In short, Alister is correct and FCP does seem to recognize my MOV files and the timecode associated with them after they are deleted re-wrapped and re-imported, even when the original files were created as subclips and the later ones were created as full length clips.
I can only imagine that it would be easier if the entire MP4 files were re-wrapped to begin with, with no subclips at all. Then FCP should be able to recognize and relink all of the clips at once.
Interestingly enough, I got the whole idea of using XDCAM TRANSFER to create subclips from the Vortex Media EX3 Instructional DVD. He really touts the ability to create subclips as a powerful feature of the workflow, allowing you to import only the footage that you need, thus saving both time and disk space in the edit. In theory this sounds like a great idea to me, but one must be careful to consider what happens later if any changes in the program are required and there are no MOV file back ups.
Going forward I will continue to experiment and weigh the prosand cons of using subclips in XDCAM TRANSFER. I am also considering, as Alister suggested, backing up one copy of both the BPAV files and the MOV files. I think (hope!) that this method will give me the redundancy and flexibility I will need in the future if I have to go back and change anything. Also, I like to have the ability to quickly access footage I have shot in the past, as MOV files, rather than having to recreate them in XDCAM TRANSFER.
Also, I am thinking that it is best not to re-name anything with XDCAM TRANSFER. As long as the MOV files have the same names as the MP4 files, things would be much easier to relink in the future? Any renaming of clips will be done in FCP only, without changing the actual media file name. Either that or I will use one of the logging columns to create more descriptive text names.
Thank you both.
Sterling Noren
Owner/Editor/Producer
WideWorld HD Productions
Seattle WA -
Yeah I know that I can import a bunch of clips and then export them as a single clip. But then I have to be careful about archiving all of these new clips. It wouldn’t be possible to rebuild the sequence later by simply recapturing footage from tape if necessary, right? I would also have to archive all of the new longer clips that I created.
It looks like I am stuck working with a zillion clips for now. I really hate to be stuck with so many clips with the generic EX3 file names. Nor do I relish having to come up with unique file names for all of these individual clips.
Sterling Noren
Owner/Editor/Producer
WideWorld HD Productions
Seattle WA -
For the last 4 and 1/2 years I have been cutting 1 hour HD documentaries (Discoveries…America series and Discoveries…Spain) for broadcast at the rate of one per month (64 1-hour shows total now, under my belt :-)). I do all of the editing, graphics, color correction, audio mixing and finishing for broadcast. If you get in a groove and have a template you can really knock them out. In contrast, I edited a different 4 hour series that was starting from scratch and it took me about 5 weeks do do each one hour show.
Those are my figures…..
Sterling
Sterling Noren
Owner/Editor/Producer
WideWorld HD Productions
Seattle WA -
I had a program where half the footage was shot in 1080i drop frame and the other half in 720P nondrop frame. After learning what you did, my solution was to capture everything in 1080idrop frame to begin with. The deck I use is able to convert from 720P to 1080i so when it gets into FCP it all looks the same. Ive been using that way ever since.
Sterling
Sterling Noren
Owner/Editor/Producer
WideWorld HD Productions
Seattle WA -
I just called AJA tech support and they told me that as long as I capture everything uncompressed the close captioning info will pass through just fine. No special settings required. Wont lose anything.
thanks
Sterling
Sterling Noren
Owner/Editor/Producer
WideWorld HD Productions
Seattle WA -
Maybe this can help you get started:
https://flippant.net/blog/?p=111
Sterling Noren
Owner/Editor/Producer
WideWorld HD Productions
Seattle WA -
You *might* be able to pick it up even closer too. When we purchased ours we chose the option for “local pickup” and they directed us to a shipping warehouse in Seattle (not any kind of a “dealership”, but a real shipping facility). They might have a similar warehouse in Portland. Who knows.
Sterling Noren
Owner/Editor/Producer
WideWorld HD Productions
Seattle WA -
We just purchased one from here:
They were one of the first links that came up when I googled them and one of the best deals I found. We ordered on a Monaday night and picked it up locally (in Seattle) on Weds night, saving more than $200 shipping costs. Out the door with tax and a stand was just over 2k.
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Sterling Noren
Owner/Editor/Producer
WideWorld HD Productions
Seattle WA -
Hi Jules –
I work on both systems – one at home without a Kona card, and one away from home, with a Kona 2 card.
A Kona card will give you more realtime HDV effects and a signal that you can send out to a real monitor so you’re not constrianed to viewing it soley on the desktop, as it were.
However, that said, I have been working very comfortably at home on a G5 system using two Dell 24″ monitors, one of them dedicated to display the footage fullscreen in “digital cinema desktop preview” mode. While it isnt a true broadcast montior I have found that it is entirely sufficient to edit with and looks fantastic.
I have almost always found that what I have been able to do at home holds up in the real broadcast suite with a true Sony HR Triniton broadcast monitor. As far as it goes, I have been very happy with the performance of the HDV codec. I have almost 80 hours of footage spread between two external Firewire drives (one 800 and one 400) and have been editing for a year on this project with no significant problems. While it does take longer to render HDV footage, I get the realtime dissolves and titles that I need, enough for editing. (and most of work is pretty straight-foward documentary editing with simple effects)
In short I would say that unless you are delivering for broadcast and attempting to meet some very specific technical requirements for color, levels, etc….you could consider editing your project with a good 24″ monitor like the Dell, for example. You might find that is enough for what you need.
Sterling Noren
WideWorld HD Productions -
Thanks Bob – Its pretty much as I assumed – capturing HDV as DVCPROHD via FireWire is not possible. I always knew this but read some posts that indicated otherwise so now I will shut up and get back to work.
I am considering purchasing the LHe for my home studio and will be capturing HDV as DVCPROHD via the analog outputs on my camera. For audio I will run the camera outputs through a mixer and convert to XLR cables for the Kona input. And for device control I would still be using FireWire. Are there any issues here Im missing? Audio sync….will it work okay this way?
Thank You
Sterling Noren
WideWorld HD Productions