[Tom]

OK…can of worms here.

How do I “clone” and “clone back the original?”

Tom

PS – Barring this, are you aware of the proper uninstall procedure?

[Tom]

No, it’s not mine – which is why I’ll be returning it and need to remove all of my software. It belongs to the company I work for.

[Tom]

Agree in most cases, but for this particular project I’m not getting files in 48k nor am I delivering in 48k – the entire workflow for this project from start > end is 44.1.

Web-based stuff… 🙂

[Tom]

That was it – sequence settings. Thought I had already changed to 44.1 – it was set at default, 48kHz.

Just changed setting (no reimporting, converting, etc) and voila – exports without a hitch.

Thanks all!

Tom

[Tom]

No, using 44.1 aifs in timeline, and exporting to same. Trying to keep it simple just “export to aif” rather than “export to compressor” – but this is where i get the clicks, dropouts – tried diff. “quality,” mono, steroe, etc,a ll the same…

Ugh.

[Tom]

Unfortunately I get the dropouts and clicking when I “export to AIF” – bug???!!!

[Tom]

But RGB limitations are not an issue if mainly going to web with occasional DVD (never broadcast…) right?

Tom

[Tom]

>>> I always recommend the native codec of the project. If it’s a DV project, save it in DV for example.

This brings up an interesting point and another question – one that I asked previously, but I am now much deeper into the workflow (or lack thereof…).

I am capturing my footage on a PC with screen cap software “Fraps.” – In order to convert to edit in RT in FCP, I convert to anim codec QT first w/ PC conversion software (Fraps codec unavailable on Mac…found QT component called Perian (perian.org) that initially allowed me to view Fraps-encoded files in QT on Mac…but all of sudden stopped working!!! Same thing happened to friend on diff CPU. Weird…wouldve cut out step PC conversion to animation codec), then on Mac use AE/Compressor to convert to ProRes – tedious!

Final output will be either 640×480 for web, or DVD. So…that being said…I suppose I should be editing 720×480 in FCP to allow “native” realtime? And just figured ProRes codec best quality to work in – is 720×480 using ProRes an acceptable seq setting for what I’m doing?

However, as I mentioned, entire team needs to be able to access files, and not all have FCP 6, so will then have to archive to yet another (animation, Photo-Jpeg, etc.) Uless photo-Jpeg will allow me similar RT options to ProRes…?

[Tom]

Going back to web, mainly, with occasional DVD…

[tom] “1. Take source files into Compressor first – they come to me at 640×480 square pixels animation codec – and convert to 720×486 ProRes codec, D1 pixels.
2. Import into FCP.
3. Edit in FCP in ProRes.
4. Back to Compressor to convert back to 640×480 square (unbelievable…)

Is that my workflow?”

Well, what are you doing? Are you trying to go out to videotape, or are you making something for the web? If you’re doing a Print to Tape or an Edit to Tape, can’t you just do it using your ProRes timeline?

Dave LaRonde
Sr. Promotion Producer
KCRG-TV

[Tom]

OK, understand – BUT – files I am starting with were created at 640×480 square pixels – so is workflow now:

1. Take source files into Compressor first – they come to me at 640×480 square pixels animation codec – and convert to 720×486 ProRes codec, D1 pixels.

2. Import into FCP.

2. Edit in FCP in ProRes.

3. Back to Compressor to convert back to 640×480 square (unbelievable…)

Is that my workflow?

Tom