Vince Tennant
Forum Replies Created
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I was able to manually edit the folders, file names, directory structure and contents of XML and SMI files and fool it into thinking the clip is called 216_0022.
Going to write a little script to do it for me as needed.
\V
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I’ve been having this problem as well, multiple times on different hardware. Batteries are never the culprit as in our case we run everything off AC power.
I have this issue on material shot in Los Angeles using my own cameras and have experienced it again a few weeks later shooting on rental cameras in Chicago.
An example would be in my folders from Chicago, I have two clips named 216_0017 that were shot hours apart:
216_0017 Duration 00:29:25:28 (07:01:16 – 07:30:42)
216_0017 Duration 01:10:53:14 (10:53:13 – 12:04:07)I used to be able to rely on my media folders being able to be combined down to tidy single folders per shooter (which is critical cause these are 8-10 camera shoots), but all of a sudden I’m getting dupes.
Looks like it’s been happening for years and there are still no real answers. I’m going to try to make a backup copy of one of the clips and see if I can manually edit the metadata files and retag the clip info…
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Thanks for the info Kristian!
Do you think a mac mini outfitted with a single SSD would do uncompressed 1080i, or are we still not even in the ballpark without Raid SSD?
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HA! Billing, that’s funny. This is actually the norm on 99% of the shows I deal with: They capture what is on the VTR and never touch the backup recordings unless we (post audio) specifically ask for it. And even then it’s just a line here or there if we really really feel we need it. And these are major network programs with millions of viewers.
Obviously they don’t bother to capture that secondary audio when digitizing their media in the first place, again too time consuming and not enough money.
However by the time when we get an OMF of the locked cut and entire show is garbage, it’s a bit too late in the process to much more than try to match it back and find the good stuff where we can. I have tools to do so (TITAN), however clients NEVER have budget to pay for an assist to go through and spend a shift flash conform their shows (let alone have the time)… so I’m trying to find a way they can do it on their end when the show locks… and I mistakenly assumed since it’s basically just a bunch of timecode crunching that programs like FCP/AVID would offer the ability.
I will pass along the Sync and Link info. Thanks!
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Let’s assume the timecode is perfect or within a few frames.
The reel numbers are not the same (assume the tapes were captured by tape, the secondary recorder was not stopped/started but rather ran continuously during the shoot) and the file names are whatever was generated automatically by the recording system.
There is a tool for post audio I use all the time called TITAN that will just read the source timecodes, you point it to a directory of media and it finds the same timecoded section in that media and creates a timeline. It seems like a rather basic concept so I assumed a NLE could do the same.
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– The QT files are usually sourced from other editors working in FCP or After Effects. Has been a real mixed bag of codecs inside the files, but seriously, if they’re in a .mov wrapper they just don’t work. H.264, DV, Uncompressed, Motion Jpeg– I’ve tried them all. If it’s a .mov container = black screen.
– I do still have the option to render .mov. In retrospect I’m not 100% sure if I’ve tried to render to QT since the read issue started happening, be now I’m curious to see if output shows the same ‘black screen’ problem.
– Thinking now, the only thing I can think of I might have changed was adding Avid DNxHD codec which works in Vegas through the QT engine. Although I think I added that about a year ago and the problem seems more recent, I think I’m gonna try to remove that codec when I get home and see if anything changes.
But yeah- seriously- multiple files, multiple codecs from multiple systems and multiple editors, same problem. I’m baffled.