[Steve Price]

Thanks Tom, that worked out fine.
Cheers,
Steve.

[Steve Price]

Thank you Arnie,

I’ve tried it and it’s working very well – playback seems to be a bit smoother this way too.

Cheers,

Steve.

[Steve Price]

I’ve had this happen to me too, in my case the wav form also disappeared from the timeline leaving me with an ’empty’ audio file.

I deleted the audio file from from my project bins, moved the audio file to a new folder on my drive, then re-imported it and everything worked fine again. It happened several times during different projects and I fixed it like that every time.

Hope it works for you too.

[Steve Price]

Thank you both for your invaluable help. I think you may be right Jeremy, if I lose the TC I’ll be in all sorts of trouble, and as it happens this is the type of production where my clients will trust me to smooth out the shakey shots after I’ve reconformed the programme.

Actually that’s my next big step in the wide world of FCP – recapturing at uncompressed quality from the original DigiBeta rushes. I originally had some 30 hours of footage over 20 tapes, and each tape was captured as one big 90 minute clip at PAL DV 625 quality – I’m assuming that recapturing just the footage I’ve used in the timeline, with handles, will be a fairly straightforward exercise…?

As you can see, I’ve jumped in at the deep end here – I have no previous experience of FCP and I’m editing a 10 camera concert shoot for broadcast as my first job! It’s an exciting ride, and the more I use FCP the more I’m starting to like it.

Thanks again for your help,

Steve.

[Steve Price]

Aha! Of course… Thank you.

[Steve Price]

This is true! I’ve never liked this monitor much, we’ve never really got along…I have now gone in through the phono composite input, and I have a picture with all the colours in the right order, so I’ll live with that for the time being.

Many thanks for your help.

[Steve Price]

Bingo! Thanks very much, all is now at peace in my world…

[Steve Price]

Well I’ve cracked half the problem – or rather you’ve cracked it for me Jason – I set the View Frames to ALL and hey presto the picture came up on the screen! So thanks to you for that.

Meanwhile, the blues and dark areas are ok on the monitor, but the whites and skin tones are bright pink…maybe there’s a problem with the component inputs on the monitor…I’ll keep experimenting.

Onwards….

Cheers,

Steve.

[Steve Price]

Thanks very much for your advice – I made a multiclip from all the clips, and it did indeed put everything in the right place in the timeline with approproate gaps, but FCP wouldn’t accept the multiclip as a new angle in the viewer.

So, I’ll have a go at placing the clips in a timeline with the same starting timecode and render it out to a new movie file. I’ll also lace it up in sync with one of the other cameras – that way I can check to see if the jam synched timecode has slipped at any point, which it sometimes does.

I guess I should call the new clip Tape 10 so that FCP will know what to digitise when I redigitise my final timeline at uncompressed quality? I’m currently digitised at PAL DV25 – the show is over 3 hours, and was shot with 10 cameras after all…

Thanks very much for your help – I’ll let you know how I get on.

Meanwhile, I have one other small problem I can’t get my head around to do with using an external video monitor which I’ll post in a new thread.

Cheers,

Steve.