[Steven Gonzales]

Perhaps you have a problem with permissions. Go to applications — utilities — and run Disk Utility, repair disk permissions.

[Steven Gonzales]

https://www.misterstandman.com/

[Steven Gonzales]

Whether you work in 24 or 23.98 really depends on your sound. If you are syncing sound to picture within Final Cut, working in 24 will allow you to sync without changing the sound.

If you sync in Final Cut, and you work in 23.98, you would have to slow down the sound by 1/10th of one percent (.1%). This would match the slow down which happens to picture during telecine to video.

You can also edit at 29.97, and Cinema Tools will create a cut list. However, during telecine, certain video frames have information from 2 different film frames. If you use one of those dual frames at a cut point, the program will have to choose between the two film frames for the cut list.

Thus, editing at 29.97, each cut is accurate to only plus or minus one frame potentially. If you are editing for a negative cut, you are better off editing at 24 fps (or 23.98).

[Steven Gonzales]

I’ve seen this where the capture was done with “handles” added. Is that a possible explanation?

[Steven Gonzales]

This is similar to filling a bucket.

If you take the hose, turn it on, turn it of, turn it on, turn it off you will fill the bucket.

Or you could just keep the hose on to fill the bucket.

However, the same water is coming out, and it won’t be murkier just because you left the faucet on continuously.

If your footage was soft, and you used capture now, then capture now was not the reason.

This is a basic fallacy that many people have in their logic: coincidence is not causation. Just because two things occurred in relation to each other does not mean one caused the other.

[Steven Gonzales]

You should read the manual for cinema tools, as this will describe how the program works and how to create cutlists.

The basic steps are:

Import flex files to create a database record in Cinema Tools for each flex file record.

Capture the files.

Reverse telecine the clips if you wish to work in 24 or 23.98 frames per second.

Link the quicktime files created by reverse telecine to the database records in Cinema Tools. Check that keycode and timecode information is correct on the Cinema Tools data records

Edit.

Then make cut list, which match the portions of the quicktime files you edited to the record those quicktime files are linked to in Cinema Tools.

Of course, this is the quick cursory overview. You absolutely should read and understand the Cinema Tools user manual as a first step in the process.

[Steven Gonzales]

The dual 1gb G4 has PCI slots:

https://www.everymac.com/systems/apple/powermac_g4/stats/powermac_g4_1.0_dp_mdd.html

[Steven Gonzales]

That machine only has the older PCI slots. You would need a newer machine with PCIe or PCI-X slots.

[Steven Gonzales]

It’s actually good to have 2 on a videotape.

LTC is recorded on a linear channel on the videotape, so it can be read easily at various speeds (the frequency just changes, but can still be decoded), even those where the video information is not being read. However, being linear, LTC cannot be read when the tape is stationary on a frame (paused).

VITC is written with the video signal in the vertical blanking interval. Thus, it can be read when the machine is paused on a frame (as this means the same frame is read over and over).

[Steven Gonzales]

From word, set the margins so the text appears like you want it.

Then save as format text only with line breaks.