FCP - FLAME problems

[Jeff Brown]

Chaps,

I am attempting FCP - Crimson _ Redcine/Redline - DPX /EDL - Flame

I'm having the following problems:

Redline/Redcine is rendering out my sequences as Time of Day code not Edgecode (tried both options in Crimson). So I'm ending up with an EDL (from proxies with edgecode) that doesn't match my renders.

I have a couple of clips in the sequence that were shot with TOD code not edgecode so I have tried removing them to a different sequence in case they are overriding the option for edgecode.

At the same time I can't get my crimson generated xml into redcine as it will not let me browse to the file beyond the top level. I've posted a note on the crimson forum about this.

At the moment I am trying to do the following:
Manually rebuilding my TOD DPX sequences within Kona DPX wrapper in final cut so as to regenerate a TOD EDL. So far I can't seem to get this to conform in Color so I am doubtful about flame. (I am using color as a test DPX/edl conform.) Upon EDL export from FCP it tells me my files have no reel names so the edl will not work...

Getting desperate - anyone have any suggestions...?

Cheers

Jeff Brown

 

[Cail Young]

It's far too late for this, but next time if you're cutting proxies (and not transcodes) ensure the camera is set to display TOD when you shoot, as this setting is what goes in the proxies. I think it's possible to use REDALERT to generate new proxies with the other timecode track (both are in the R3D) but I'm not sure if REDCINE/REDLINE will render anything but TOD in their outputs.

As to your current project; you could try skipping Crimson and rendering EVERYTHING out to DPX at a non-standard size with the edgecode burned in, then hand-matching back later (and cropping out the TC window).

Is this a particularly longform project?

 

[I Bloom]

Redline/Redcine is rendering out my sequences as Time of Day code not Edgecode (tried both options in Crimson). So I'm ending up with an EDL (from proxies with edgecode) that doesn't match my renders.

I have a couple of clips in the sequence that were shot with TOD code not edgecode so I have tried removing them to a different sequence in case they are overriding the option for edgecode.

At the same time I can't get my crimson generated xml into redcine as it will not let me browse to the file beyond the top level. I've posted a note on the crimson forum about this.

At the moment I am trying to do the following:
Manually rebuilding my TOD DPX sequences within Kona DPX wrapper in final cut so as to regenerate a TOD EDL. So far I can't seem to get this to conform in Color so I am doubtful about flame. (I am using color as a test DPX/edl conform.) Upon EDL export from FCP it tells me my files have no reel names so the edl will not work...

Getting desperate - anyone have any suggestions...?

Cheers

Jeff Brown

That bug in Redcine where you can't traverse the directory structure is ameliorated by reducing the number of clips in the sequence.

This issue with edgecode has come up before and I've been over it carefully. Crimson is doing what it's supposed to, adding the --useEC flag to Redline, but I've noticed the edgecode ends up in a different part of the EXIF header and TOD is still in the beginning. So I think the problem is that flame is reading the wrong number from the header, or Redline is changing the wrong number. Not sure what a solution is.

IBloom

 

[Jeff Brown]

I think I've got is sussed now.

I did my crimson -redline render to DPX with handles. They obviously now have TOD code in them.

I then wrapped them using Kona DPX wrapper.

Imported back into FCP and displayed timecode readers on them - did a matchframe over the proxies (tediously removing the handles on every clip...)

Re exported an EDL of that new sequence (which now has the TOD code in it)

Edl now conforms when pointed at the DPX sequences using Color.

So it's best to set the camera to TOD code to avoid this conform issue? I thought the camera recorded both anyway. My proxies display what the camera was set to at the time of recording.

Thanks for the help

Cheers


Jeff

 

[Michael Bach]

Tod , Ec

Tod , Ec

WE use Edge code for every job as there can be probs with overcranked shots with duplicate TOD. Redline can generate either EC or TOD in the DPX headers so once you have an accurate XML you should have no problem generating DPX with correct originator and EC.

Cheers

Michael

 

[Cail Young]

So it's best to set the camera to TOD code to avoid this conform issue? I thought the camera recorded both anyway. My proxies display what the camera was set to at the time of recording.

This is true; the proxies reflect the camera's displayed setting at time of recording.

WE use Edge code for every job as there can be probs with overcranked shots with duplicate TOD. Redline can generate either EC or TOD in the DPX headers so once you have an accurate XML you should have no problem generating DPX with correct originator and EC.

This relies on you having identifiable reel names. As long as that's the case, no worries!