[Steven Austin]

Sounds right. 23.98 it is. Thx

[Steven Austin]

BTW, to answer your question… This show is going direct to DVD and will stay there. Digital projection for festivals. No film out whatsoever. Thx

“In modern action films, the only people who work up a sweat are the editors.” — Roger Ebert

[Steven Austin]

Thanks for your reply! I will pass it on to the DP. I guess I’ll just have to open up the 24p footage in a timeline that is set for 23.98, and deal with the results.
Thanks!

“In modern action films, the only people who work up a sweat are the editors.” — Roger Ebert

[Steven Austin]

I always receive .wav files from the on-set mixer. What I liked about Soundtrack Pro was the ability to fix them without having to flatten & resync them to picture.

But if that’s what it takes, I’ll have to do it. I did not try messing with Render Manager. Frankly the less I deal with audio the happier I am! It’s a regular show that I am stuck prepping, cutting, mixing & coloring. The Producers think that just because a computer has the ability to DO all these things, that it just requires one person. Under a tight deadline!

Anyway, my question is not just how to fix it but what’s causing it? I want to avoid this kind of situation again. Why the heck would a “.wav (sent)” file decide to arbitrarily LOWER itself or generate a random fade? That’s just WEIRD.

“In modern action films, the only people who work up a sweat are the editors.” — Roger Ebert

[Steven Austin]

Thanks everyone for your great advice. (I noticed that Sony Vegas did not really enter into the conversation.)
Seems like PP is the more expensive, but user-friendly option for a FCP ex-patariot.
Hopefully 9 gigs of RAM, a 10,000 rpm Raptor drive and the original quad core tower is enough horsepower to run it. ‘Cuz that’s all I have!
Thanks again!

“In modern action films, the only people who work up a sweat are the editors.” — Roger Ebert

[Steven Austin]

Phewwww! Pasting the clips into a new sequence (with correct settings), and right clicking to remove basic motion attributes did the trick. There is still some clean up (black frames between edits) but that beats the alternative of re-editing 300 shots by hand!

Video editing is cool… but sometimes, during a crisis I just pine for the prehistoric days when all I had to deal with was the physical work print.

Thanks, gang!

“In modern action films, the only people who work up a sweat are the editors.” — Roger Ebert

[Steven Austin]

Thanks…

“In modern action films, the only people who work up a sweat are the editors.” — Roger Ebert

[Steven Austin]

So after I bring it into Compressor, what export settings do you suggest? After it’s 1440 they want it all all manner of codecs, for phones & streaming, etc.

(This is the part where I start getting wistful about 35mm film… One size fits all!!!)

Thx

“In modern action films, the only people who work up a sweat are the editors.” — Roger Ebert

[Steven Austin]

All /.movs are self-contained. What I don’t understand is that the sequence does not load.

It’s not like a “media offline” situation at all, where the sequence opens in the timeline — but the files are not connected. That’s an easy fix.

Clicking on the sequence just prompts “no movie in file”/out of memory.
I have a bunch of render files cached which I can use for reference, but hardly a render file for each still. Maybe I have 50 out of 200….

“In modern action films, the only people who work up a sweat are the editors.” — Roger Ebert

[Steven Austin]

I haven’t changed anything. I was viewing the exported .mov file when I imported it back into the timeline, not via Quicktime.