[Trevor Bajus]

I’m a little shocked at both the tone and substance of this reply.

I hardly think such peevish nastiness is warranted because someone expects the H.264 renderer to render H.264.

If it doesn’t work, Adobe shouldn’t put it in. If Adobe is going to put it in, then they should make it work. I hardly think this is an unreasonable request.

[Trevor Bajus]

”
– removed file from the timeline and browser.
– in easy setup i selected HD as FORMAT, 50 fps as RATE and DVCPRO HD 720p50 as USE
– pressed SETUP, then saved the project and QUIT FCP.
– opened FCP again, opened the project file and reimported audio with drag and drop from the finder to FCP browser.
– dropped the audio to timeline ”

How did you have it set up the first time? Was the problem that your Easy Setup did not match your source footage, and when you made your first cut, you had it change the sequence settings?

I’m editing a small concert that was shot with several different formats, including HDV, NTSC, and 640×480 point and shoot.

It’s bananas.

I thought that syncing would not be that big of a deal, as there are frequent quiet parts where there’s basically nothing but drums (when the band is playing, the automatic audio gain on the various cameras compresses the audio so that transients are hard to find).

However, the video and audio tends to drift significantly after only a minute or so.

So, I’m having 2 problems, really:

1) how do I get FCP to accurately draw the waveforms (seems like this should, you know, just work, but…) for multiple formats in the same timeline.

2) how do I get them all to stay in sync for more than a minute at a time?

Do I really need to render all of the files out to be the same size as the largest file, then reimport and crop? Seems like that would take up an unnecessary amount of space, especially for a long format project like this one.

It would, however, be preferable to syncing 4-5 cameras every minute or so.

Thanks!