[Will Whalien]

it seems to be related to the COMPRESSOR i’m using on the dialog. never had a problem before scrubbing audio with compression added. when i turn the plugin off, i can scrub. makes no sense.

will

[Will Whalien]

hey shane,

thanks again for all the awesome insight. truly helpful. one quick question, and pardon my ignorance, but what are FXPlug plugins?

thanks,

ww

[Will Whalien]

wow…i was told my GFX card would be able to handle this resolution. funny thing is it can handle some other plugins at this frame size.

thanks for the advice,

ww

[Will Whalien]

hey kevin,

the control shift worked perfectly in the viewer. much appreciated!! the slip tool does what it’s supposed to in the timeline.

thanks again kevin!

WW

[Will Whalien]

Patrick,

Thanks for your post it was good to know that someone has found a solution. I’m not going to color correct a titled output, doesn’t make much sense. And what about if you’re dealing with multiple layers? Normally, we always have the option of transfer scenes with heads and tails. Can’t really do this with P2.

Still troubled….

[Will Whalien]

As I stated before, this edit was fairly simple, all straight cuts with a few speed ups. I didn’t want to color correct sped up footage, the SMOKE has better speed changing capabilities so I removed these from the entire edit prior to making the TIFF sequence which I provided the post house. We don’t have a D5 at our shop so outputting to tape wasn’t an option.

In the future, when working with multiple layers with transitions, not just straight cuts, what’s the solution here? Normally, we walk away from a color grading session with a master transfer tape with all the selects in the edit. Whicb in turn reflects the various timecodes for each shot in the EDL. The EDL and transfer master are given to the online operator and before you know it the cut has been rebuilt. With P2 media, how do you achieve this from transfer to online? There’s no timecode, no source tapes, nothing an EDL can reference. Thus we rebuild the entire edit in the online, matching the rough as we go. Very inefficient.

I read the SMOKE can read XML documents. And even found a tutorial on the AUTODESK site for exporting a new project through media manager with an XML document. Not sure the tutorial addresses P2 media. This is find for going from FCP to FLAME but what about FCP to telecine, then to Flame.

Thanks again,

Ed

[Will Whalien]

Hey Shane,

Thanks for the suggestion. Unfortunately, when working at one of the top shops in NYC, you can’t really tell them a $1200 program is the better way to go than their $500k+ plus machine in their $3 million suite. If I were doing this at home, then I’d do it on my laptop using color.

I’m hoping someone has some experience with this sort of workflow, outside the FCP suite.

Best,

Will

[Will Whalien]

Hey Guys,

Thanks for the help. Not really sure what happened. But it’s fixed. After reading your suggestions, I went back to my sequence settings and rnoticed the frame rate in the QUICKTIME VIDEO SETTINGS, in the advanced menu, was set to 23.976, not 23.98. Once I changed it to 23.98, the playback was fine. The odd thing is that I don’t this was the issue. The reason, when I go back to the advanced settings in the QT VIDEO SETTINGS menu, the frame rate goes back to 23.976, not 23.98.

Not sure what the heck happened, but it’s fixed. Any clues as to what happened?

Thanks again,

Ed

[Will Whalien]

Thanks for the reply. I’m using FCP 6.0.3. When I started organizing the footage into sequences, FCP seems to know the what the footage is and asks you if you’d like it to match the sequence settings to the footage. I said “yes”. No need to render. Gray bars all around.

When I open the footage in QT, it tells me it’s 23.987. My sequence setting are at 23.987 as well. It’s weird, I just can’t figure it out. The motion is fluid and beautiful in QT but when I play it down in FCP it stutters.

Also, I’m using FCP as my main window for viewing. I do not have any monitors attached. Just my esata card, and the G-Raid. Is it possible that the VIEWER and CANVAS can’t play back the resized (41%) footage at the proper frame rate?

Thanks again,

Will