[Vander Furff]

Don,

This response is very helpful.

Might have been confusing, my reference to file names. To clarify, the shooters delivered files from separate A99’s which defaulted to the same file names. Would typically handle that during L & T, but in this case have done so offline.

You may be onto the problem with the AVCHD wrapper. Certainly makes sense, given the FCP 7 reaction. One puzzler is that we also had some D7000 footage that wouldn’t transcode, either. An older camera, obviously, but regardless everything is flowing now. Good to hear your thoughts on bringing transcoded footage into the project via only import. Wasn’t sure if there was something I was missing so it’s a reassurance.

Btw I upgraded to Mountain Lion just prior to these problems, and am seeing some feedback that FCP 7 plug-ins don’t always play nice with Mnt Lion.

Off to go play with Plural Eyes 3.

Thanks once again for your time,

VANDY

[Vander Furff]

Thank you very much for your timely reply, and this is an excellent tutorial.

Having followed all the steps, though, I’m still having trouble logging and transferring the already transcoded footage. The only way I seem to be able to get it into the system is by direct import. As long as basic issues like conflicting file names are addressed, can you tell me what the downside of this might be? The errors I’m getting upon use of log and transfer regard file structure, but the file structure of unchanged prior to transcode to 422 mov from mts files.

Thanks again for your time and insightS.

Best,

VANDY

[Vander Furff]

Good evening,

I realize this is an older thread, but just wanted to inquire about bringing media into FCP 7.

I have ACVHD files from a dual Sony A99 shoot that were run through Clipwrap 2, and then transcoded via Magic Bullet Grinder (Rationale behind use of MB Grinder was the dual output capacity for transcoding) to both conform frame rates to 23.976 (shot a bit at 60fps and plays back slow mo now perfectly) and create both standard Pro Rez 422 and 422 proxy files.

So, I now have four files sets: original media, clipwrapped media, proxy media, and high quality media.

So, everything is fine and conformed properly, but would like to confirm the next steps, because I’ve never edited with proxy media before.

1. Should everything get ingested through log and transfer, or is it okay to simply import my transcoded and tested proxy files directly into specific bins?
2. Is it sufficient to just import the proxy files into the project, ie will they point back to the higher quality standard 422 files automatically?
3. Easy set-up settings don’t matter, right, since I’m not pulling media from a machine?
4, What should my sequence settings for this sort of thing? All media coming into the projet is pre-conformed to Pro Rez 422 (or proxy) at 1920 x 1080/ 23.976fps.

Is there a reason why, within sequence settings, FCP 7 doesn’t have full and correct file type, rez and fps settings avail?

Got to get this piece pulled together in the next two days, with effects, so just want to be careful to do it right the first time:)

Any thoughts appreciated and welcome.

Many thanks,

VANDY

[Vander Furff]

Just a quick update – this was a 2010 version of Magic Bullet, a portion of which lost it’s authorization code (likely because Stabilizer has been discontinued). I’ve spoken with the Red Giant folks, all very friendly, and was asked to reinstall those elements. I had the serials handy, did so, and the watermark disappeared.

I’m still on Snow Leopard, and will upgrade to the more recent version of MB Ste, when I go over to Mnt. Lion.

If anyone else comes across this as an issue, here’s the link to the Red Giant legacy page:

https://www.redgiantsoftware.com/downloads/legacy-versions/

Thanks,

Vandy

[Vander Furff]

Thanks very much for your thoughts. I’ll certainly give that a try. Do you have any idea what this icon means, though, or why it might apply to native fcp plugins, and not just those by Red Giant?

Thanks.

[Vander Furff]

Haha. Perfect. Thanks for you insight. Onward and upwards.

Cheers,

Vandy

[Vander Furff]

Thank you for your timely response, Shane.

Unsure the difficulty with log and transfer, either, but had seen your excellent video, and appreciate all your posts. Thanks for such solid, easy to understand information.

Yes, the varied framerates were a surprise to us, too. About 75% of the shoot was in 24, which was requested, but, as it turns out, the shooter felt like he wanted to experiment a bit. We did request several slower shots from the p2 on the the crane, to illustrate overhead casting movement, so the frame rate variation was only a surprise on the 7D. Could be that his experience with the DSLR was not quite as advertised. That is another bridge we’re already crossing.

It is likely that we can cut around a good bit of the varied frame rate footage. These will be stand alone webisodes, so the hope is that each segment can be tailored to that stability. We’ve got pretty good coverage.

As for the concern about efficacy of the data currently in the program, if frame rate conflicts are reduced, do you think it’s worth editing, without having followed correct proper log and transfer? The decisions and aftermath are ours to risk, or not, but your expert opinion is very appreciated.

Many thanks again for your time.

Vandy