Tony
Forum Replies Created
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I am familar with this problem as I had to deal with it myself.
What is happening is FCP is having a problem acknowledging which codec you actually used earlier.
My problem occurred when I jumped over from a BMD codec to the Apple 8 bit codec which is actually the same as the earlier codec but with the new name.
In anycase the solution is to go right click on your sequence while it is in your browser.
Then scroll to settings, select and compressor and even if the right codec is already there, put in another one and immediately change it back to the right codec and then hit ok.For example if BMD (the original codec) had been in the compressor setting , I change it to the apple 8 bit codec and hit ok.
Now try to open the sequence and FCP should be able to open it.
This problem can occur when you upgrade you version of FCP and codec names have changed.
I discovered the fix by accident when I changed the compression settings out of frustration late one night and have never forgot this bug.
Good luck and get some sleep.
Tony
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Use FCP help or read in the manual about “render manager” and how you can use it to delete all your renders and start over. Did you check your disk space to verify it is not full?
Have you gone back to your autosaved sequences and checked if you can open those sequences?
Did you do a save as on a daily basis during editing. Whenever I offline a show for a long period of time I will on a daily basis do a “save as” on the sequence and add the new day to the name. This workflow will create a new sequence for each day but it in the event corruption occurs you can backtrack .
You don’t have to do this daily as you could do it every other day or weekly but you increase the chance of a problem occurring at the wrong time.
Tony Salgado
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In addition to a college education you need to seriously consider working at a post production facility first.
Start as an intern, work your way up to tape op, assistant editor, junior editor etc. Some of the leading post production facilities are owned and operated by former or current senior editors.
How will you actually gain “insider” knowledge that will be essential to developing a proper business plan for your future business. Anyone who would open up a restaurant without having actually worked in one or had some real world exposure to the business is ill served by not gaining “insider knowledge”.
You might find the post business you are dreaming about today may not be what you expected nor worth the time and money investment. Or you might discover this is what you really aspire to do in life but find that you need to specialize in an area of post such as visual effects.
Learning how to massage clients during a good and bad experience can only be taught “on the frontlines”. Purchasing equipment from vendors and the art of “cutting a deal” are not taught in college. Managing numerous employees and/or freelancers all with different personalities is not taught in college.
I wish you the best of luck in your career.
Tony Salgado
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Wow what a bummer,
You should have cross converted to 1080 60i with a 3:2 puildown and recorded that to the HDW-250 then later reverse out the 3:2 pulldown to extract the native 24P.
Tony Salgado
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I would not blame the crew as I doubt they had made the stupid decision to mix the two unsimilar formats and cameras in the first place.
This mistake was reserved for someone way up the food chain who need to step up to the plate and accept the mess they created.
Tony Salgado
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What frame rate did you shoot the HDCAM material at 23.98psf, 24.00psf or 59.94i.
If the JVC HDV material is not the same frame rate then you will have to figure out how to conform it to match the HDCAM material in terms of frame rate and spacial resolution.
Tony Salgado
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Steve,
With all due respect if GMAC or Ford can figure out how to contact their customers during a recall or vehicle advisory I sincerely believe Panasonic can figure out how to contact the buyers (via email or snail mail) of the Varicam or SDX 900 to update them about critical software updates.
Software updates which increase the functionality of any camera are essential to the end users as well as owners in a constantly changing marketplace.
It is a win win scenario when everyone can stay ahead of the game instead of being left behind with outdated software.
Just my two cents,
Tony Salgado
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If the tape is not cut or severely damaged you should be able to wind it onto the take up reel well past the suspect spot and then gently play it once while you are doing an SDI protection master dub.
Set up both machines in advance and test out the dubbing system with another tape so you minimize the time the damaged time is in the machine.
I have done emergency protection masters from damaged tapes in the past and this techinque works fine.
The important thing to remember is not to playback the damaged section as you could damage the vtr’s heads.
So make a note of the timecode location of the damaged section and post that on the damaged tape face.
The note should say WARNING DO NOT REWIND OR PLAYBACK BEFORE (timecode location) DUE TO TAPE DAMAGE.
Good luck,
Tony Salgado
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Yes I had seen this problem and it has nothing to do with FCP or the Kona drivers. It is one of three things your video cables, your hard drives or the kona board.
The first thing to check is if your video cables are rated for HDSDI or SD-SDI (ie Belden 1505A, 1855A).
If they are only rated for standard def analog (ie Belden 8241) this could account for digital sparkles.Second are your drives at full capacity? Remember the ideal method is never to go beyond 75-80% of full capacity thereby allowing overhead. Take a sample clip and move it over to another drive other than your raid and then playback the clip to compare if you are still seeing sparkles.
If after completing all this testing the sparkles remain then by process of elimination you have narrowed it down to the board.
I had to replace a board which had sparkle problems after confirming all the other items mentioned were not creating the problem.
Contact AJA they will do you right and replace a board under warranty.
Tony Salgado
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Actually Merv,
The aspect ratio conversion I have tested using FCP and an external aspect ratio converter results in great image quality from FCP. Yes the external aspect ratio converter was a little better but FCP did yield a useable image for broadcast.
In anycase why are you not outputting the final 16×9 sequence and doing the 4×3 center cut on the fly? You could lay off the anamorphic sequence to tape or do the 4×3 center cut on the fly output via the external aspect ratio converter. This workflow is done daily on hundreds of shows shot in 16×9 anamorphic standard def or high def.
The benefits of this allow you to retain two shows one in 16×9 anamorphic the other in 4×3 centercut or 4×3 letterbox all created from one sequence.
Sorry but I have to ask is your keyboard broken or is the spell checker disabled?
Tony Salgado