[Tim Kolb]

I guess I’d say that labeling and sorting can’t be over-emphasized in a narrative piece…scene#s, take#s, etc. Any careful labeling you do now will help you spend more time editing than searching once you’re in flow…

I’d say you want to consider using the nesting feature in PPro to create a separate sequence for each ‘scene’ (however you choose to employ that term).

As you get into revisions, one long timeline can be very cumbersome to manipulate, and if a scene changes length after changes, you can keep a ‘master’ timeline with the scenes laid out in sequence and simply make one trim vs a massive amount of rippling down-timeline material, which can make a hash of things.

Also…consider creating a separate audio track for each individual actor in each scene so you can do things like equalization/compression, etc. in the mixer for the whole track vs having to do it clip by clip. It also means to change those settings involves one adjustment instead of many.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

“50i and 25p have the same general frame rate, but different field dominance values. 50i actually has a rolling value, while 25p has a simultaneous one.”

I’m not certain what you mean by ‘rolling value’…50i has upper field dominance in everything but perhaps DV, which has lower in NTSC versions. It’s constant and does not change. 25p (progressive) has no field dominance…there are no fields.

“Some say deinterlacing “drops half your resolution”. Technically (by number) it does. But worse, interlacing drops half the photographic information. How do we get this back?”

‘Some’ are referring to the resolution you refer to as photographic information… but deinterlacing can be done several ways, and not all of them include simply dropping one field and duplicating the other to fill in the gaps. What you are referring to as resolution is the temporal rate (instances of image change in a second).

The industry’s use of ’50i or 59.94i is really kind of deceiving as these are ‘field rates’. Since both require 2 fields to create a frame, the framerate should be noted as 25p/25i or 29.97p/29.97i to actually make sense comparitively.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

Lots of info in the thread, though the fact remains that Faraz made a sequence by dragging the clip onto the icon to create a matching sequence…the settings look like 720p DVCProHD to me. 720p is always progressive, so there would be no sequence preset for interlaced 720…

This is just really weird. Treating and retreating the footage with these various extra steps can get you through the project, but the fact remains that this is screwed up…

Perhaps try quitting PPro, clear the prefs on startup, and create a new project and import a couple clips in and see if you get similar results?

There is absolutely no question that there is a problem here…I can’t see that you’ve done anything to cause this, Faraz.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

Keep in mind that Vegas started as an audio program…and the drag an overlap/crossfade feature is very common in audio programs like Audition and ProTools.

I don’t know that you’ll find it anywhere else…at least in the NLEs I’ve used over the years.

I haven’t played around with FCPX for a couple updates, but I don’t recall a behavior that would generate a crossfade through dragging clips onto each other in this way.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

If you could get the ProRes file transferred to an HFS+ drive, MacDrive might be able to read it.

Otherwise I’d say you may want a Mac that can read the ExFat drive to get on a network with the Windows machine and transfer it that way.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

If this just started, I’d first backtrack and try to figure out what changed before the slowdown. A certain piece of media imported? A new background process started?

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

Well…if you do indeed have a stereo sequence…

The default for a mono clip would be to pan-center, so it would show up on both sides. However, the clip could be panned left or right by either performing that adjustment on the clip, or by panning that track right or left in the mixer.

If you have the audio settings in your preferences set to bring in 2 track camera footage as dual-mono, then both would default to pan-center as they really aren’t a ‘stereo’ pair anymore…they’re distinct mono tracks…and they both default to pan-center, therefore both tracks are playing on both stereo channels.

Does that help?

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

It depends on how the audio is set to ingest in your preferences.

You can set incoming 2 track audio to be stereo, dual mono…dual stereo…etc.

Now…if it is set to dual mono, then the question is whether you mean that a mono clip set in a stereo sequence is still playing across both L-R in the master levels…which would be a matter of panning the audio in the sequence as it’s likely defaulting to pan-center.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

Yes…ditto on the software cautionary note…

And…if you buy a machine like this, loading it with RAM will help extend it’s useful life.

TimK,
Director, Consultant
Video Producer at I-CAR

[Tim Kolb]

Did you try using the ‘hand tool’ while click/dragging it inside the panel?

TimK,
Director, Consultant
Video Producer at I-CAR