[Steven Gonzales]

When I’ve needed to add more info the Final Cut from an outside source, I’ve used batch lists.

Export batch list from bin containing merged clips.

Import into Excel.

Open Audio data separately in Excel.

Sort both lists so they are in the same sort order (keeping header row from batch list info).

Copy and paste the audio data into unused columns in the batch list of matching takes.

Export as tab delimited text file.

Reimport the tab delimited text file as a batch list into a new bin in Final Cut.

Reconnect.

It’s actually easier than it sounds.

[Steven Gonzales]

Good detective work, Walter.

You UPS is probably undersized for the load. Here’s a walk through configuration utility that might help find the size you need:

https://www.apcc.com/template/size/apc/index.cfm

[Steven Gonzales]

Have you tried turning off the external video playback? Perhaps there is a firewire bus sharing problem, so it locks up after a short period of time.

If you set external video to off under the view menu, can you play a longer portion of your clip?

[Steven Gonzales]

No reason it shouldn’t work, as all the signals are present. Here’s the pinouts of 4, 6 and 8 cables:

https://pinouts.ru/Slots/ieee1394_pinout.shtml

[Steven Gonzales]

The 24pA (advanced) writes 24 frames across 30 frames by writing fields at a 2-3-3-2 pattern. The reverse telecine in cinema tools undoes the result of telecine by changed 30 frames to 24 based on a 2-3-2-3 field pattern.

The tool to deal with the 24pA format is not Cinema Tools, it is the “remove advanced pulldown” feature within Final Cut. To get info on this, go to the user manual in FCP (under help menu) and search on “remove advanced pulldown”.

[Steven Gonzales]

When I’ve been syncing features, I like to subframe edit and slip the spike of the clap to the front edge of the frame, which puts the greatest amount of the clap sound on that frame.

However, I also check sync against the voices based on the shot distance, because sound travels about 1000 feet per second, or about 41 feet per frame at 24 fps, so if the actors are 20 feet away, a half of a frame makes a slight difference.

[Steven Gonzales]

I’m not tracking time precisely, so I’m not using it now, but I demoed it a while back after chatting with the developer at Macworld.

Here’s the download link:

https://homepage.mac.com/stone_design/.Public/TimeEqualsMoney-2008-08-08.dmg

The build for this is Aug 2008, and it seems to work fine with Leopard upon a quick check.

I tagged the press release of 2002, because it was the most descriptive overview I found quickly.

[Steven Gonzales]

Time equals money is a slick little application from Stone Software if you need more precision. They have quite a few useful gems in their suite of programs:

https://www.stone.com/pr/nyc/TimeEqualMoney_2_Ships.html

[Steven Gonzales]

This is for an earlier version of FCP, but still relevant as an intro:

https://www.kenstone.net/fcp_homepage/cc_legal_fcp4.html

[Steven Gonzales]

Do you have an output of the cut from the timeline you are rebuilding? i

If you do, you could take that quicktime to a video track above the others, reduce it down to a small overlay, and match each clip cut by cut to that output by eye.

I’ve had to reconstruct project for folks that “captured now” without timecode, then had to recapture when their hard drive died.

This is why after capture, especially without timecode machine control, I make a backup of the files. Hard drives are in virtually unlimited supply, but my patience is a nonrenewable resource.