Tony Silanskas
Forum Replies Created
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Made a mistake, sorry… change your frame size to 320×180 to keep your 16:9 aspect ratio intact, but still make sure the pixel aspect is square.
tony
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Keep your frame size at 320×240 and change your pixel aspect ratio to square. Quicktime X doesn’t deal well with the aspect ratio of 960×720. Essectially, it incorrectly interprets it. By forcing the file to square pixels, it fixes your issue.
tony
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As I see you have figured out, Final Cut is not great at media management. After awhile you learn its quirks and work around them the best you can.
The reconnect in relative path option works to a point and is good to always leave on when trying to connect a large amount of files. But issues do arise. What I have done in the past when sharing a large project with more than one editor is dupe the Master Drive, and on the clones have a NOT SYNCED folder for the assistant editor to put their stuff they work on in and then consolidate back to the Master folders when needed and then clone again so everyone has the most recent files. So when Final Cut opens a project on the clone drive, for the most part (minus some renders) it should reconnect the media pretty easily as the folder structure matches the Master Drive.
This is a very simple answer to a very complex question just to get you started. I highly recommend you pick up Shane’s Final Cut organizing DVD (it’s a fantastic resource for a good foundation in how Final Cut handles media) and also search a little more around here about sharing files with more than editor.
https://store.creativecow.net/p/63/getting_organized_in_final_cut_pro
tony
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[Chris Tompkins] “Turn on your frame controls in Compressor.”
Also, try the “Best” settings in frame controls. Helps a bunch with 1080 footage.
tony
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I’ve had a lot of issues with G-Raids when I daisy chain them (massive drops in read/write speeds) so if you aren’t already, try plugging the drives you need directly into the computer and see if that helps. Seems to be an issue with some of their chipsets.
tony
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Personally, overall I’ve had much less crashes converting large quantities of clips with MPEG Streamclip than with Final Cut or compressor, but both output pretty much the same quality. Final Cut does give you timecode which is nice. Another alternative is Magic Bullet Grinder.
tony
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There are many threads that explain this. Search for “slow motion 7D twixtor” to get you started. You can also get a decent slow-mo using Motion so search around for workflows for that, too.
tony
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60i is fine for web as long as you deinterlace (in compressor preferably like Matt mentioned) the final file. Also depends on what “style” you’re going for (24p gives you a film look, 60i is a live TV look) Shooting with a progressive format would save you a step but if you want to keep the 1080 resolution and live TV look your workflow is fine.
tony
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[Shane Ross] “Don’t use and XDCAM sequence. Use all that footage in a ProRes sequence and things will be much more stable.”
This is what I do if I have to work with XDCAM footage and can’t transcode, but it has never been “much more stable” for me. It crashes less but still a bunch. Gets slightly better once everything is rendered to ProRes in the timeline, but for cutting roughs this isn’t really an option.
tony
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Depending on what your final output needs to be you could be doing it right. Depends on if you need to keep your footage interlaced or not. Is this for web, TV? Final specs?
tony