Cannot change "capture presets"

I try to duplicate in "audio/video settings" preferences the "capture presets" and FCP will not let me. they are locked. I can change all the other presets like sequence.
is there a way to unlock that so I can duplicate it and make changes.
i am using FCP 6.0.5
thanks
Love
Denny

Duplicate the preset (make a copy) then it is editable.
x

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You might want to check the interprete footage.
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QT configuration error using a capture preset...

When I opened Final Cut and went to log and capture I received this error massage:
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Hi Pablo
Frank already mentioned clearly in his post. I just want to share some useful links. First start with the link, like What to use When. And see the section where it clearly says we cannot share the data between the parent and its child adf region having JSFF and vice versa. This is achieved using Parameters Map etc.
What to use When - http://www.oracle.com/technetwork/testcontent/adfregioninteraction-155145.html
Fixed - http://www.baigzeeshan.com/2010/04/creating-pages-with-regions-in-oracle.html
Dynamic - http://www.baigzeeshan.com/2010/06/working-with-dynamic-regions-in-oracle.html
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HR Analytics Change capture logic

Hi All
My customer currently has a custom built warehouse and is using obiee as the reporting tool.
I am busy implementing 7.9.6.2 apps for them from their EBS 12.1.1 instance.
They have a burning issue which is that in their source system, the users do not always capture the fields required for their compliance reports, so their headcounts are not correct, then the users correct the data and the BI headcounts historically are not correct.
I have suggested that this problem must be dealt with in the source system, but they want to find out if the pre built apps will offer any relief.
The question is how does the BAW change capture work surrounding this scenario?
I have said that from what I have experienced the change capture works with the refresh dates in the DAC and that any changes will be picked up by the last updated date and an update will be effected to change the data.
This is unless there is SCD type logic built in where the snapshots will reflect the history as it was and perhaps only the aggregates will be effected.
I have been checking the employee headcount in the rpd and following the process back to the SDE_ORA_PersistedStage_WorkforceEvent_HeadCount_Full where the data is extracted from the source and there is a lot of headcount logic built in but I cannot work out for sure how the net changes will be handled.
Is there anyone who has had experience with HR Head count snapshots and aggregations being affected by back dated source system changes?
Regards
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Hi Tarik
Thanks for the info, I have generated the flex field and configured the csv's, I am stuck at this stage with the similar issue to the 'Error in SDE_ORA_AbsenceEvent_Full workflow' post in this forum and have an sr logged on metalink so I cannot actually test the behaviour.
The customer wants to know what will the result be if they backdate a change specifically around headcount and compliance fields in the source system when the pre built hr etl's run. They want to know if it will update the warehouse and how will the snapshot tables be effected.
I followed from source to target on headcount as a metric;
on a high level this is what I understand about the process:(corrections welcome)
SDE_ORA_PersistedStage_WorkforceEvent_HeadCount_Full loads W_ORA_WEVT_HDC_PS (stores a history of headcount)
Then SDE_ORA_WorkforceEventFact_Hdcnt loads W_WRKFC_EVT_FS
then
SIL_WorkforceEventFact loads W_WRKFC_EVT_F with the update strategy in Upd W Wrkfc evt f ins upd identifies from comparing the etl proc wid & data source num whether there will be an insert update or delete.
If there is a change it inserts a new record and marks the old one as delete with the soft delete logic.
The the rpd looks at alias's of w_wrkfc_evt_f with joins to ago keys for history and to current for up to date records.
So assuming the changes do not fall out side of the dac's prune days, and the 'back dated' change is picked up in the etl by the OLTP ' last updated time stamp' being later then the etl refresh date, will the behaviour be that the records are updated but the snapshots remain unchanged and therefore reflect the incorrect data?
For example. A person joins the organization in Jan, but there current system report does not reflect him because the record does not have the mandatory fields correctly filled out and he falls into an exeception report. In Feb the data is not corrected but in March the HR team correct the data and back date the change in their system to January.
How will this affect the headcount in the BAW? How would the BAW handle this scenario? Is the question from the client ( assuming the ootb values are correct and in use.)
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If there are any HR gurus out there who can confirm my expectations or offer any comments I would appreciate it.
Many thanks
Nick

Wrong capture presets & how to correct them

Ok, I've been a real dufus:
I have shot my material 25fps progressive, 16:9, PAL, DVCam. For reasons I can't comprehend I used the "DV PAL 48 KHz" preset and "Capture Now" to capture my whole tape, which was was successfully imported as 8 seperate clips due to (ordered) timecode breaks (using a Sony DSR-11 deck via "Firewire PAL" preset). I have created a sequence using subclips from those master clips.
PART 1 - WRONG PRESETS?
I know I have to recapture my clips using the anamorphic setting, but rummaging around the "advanced" section of "Audio/Visual Settings>Capture Presets>DV PAL 48 KHz>Compressor" I noticed that the settings were 'interlaced' and the aspect ratio was set to 4:3. Should I change these to 'progressive' and 16:9 so I can capture/edit/output my film to same quality as I shot it?
PART 2 - CORRECTING THE PROBLEM
When I try to Batch Capture my original 8 master clips (with the new settings), it fails with the familiar "timecode error: end of tape reached" even though in 'Capture Now' FCP is meant to overcome my ordered timecode breaks with enough pre/post roll to allow me to recapture my clips. How do I get round this? I have seen a suggestion that I recapture the whole tape using the same clip names and then use "Reconnect Media" to associate my master clips to the new media files (I tested this idea with a duplicate master clip but got a warning of 'attribute mismatch' when I went to reconnect the duplicate to the newly capture media file apparently because as the media in/out timecodes weren't quite the same).
Hmmmmmm
MacBook Pro (2.16GHz/2GB) Mac OS X (10.4.7)

QUOTE: "I know I have to recapture my clips using the anamorphic setting, but rummaging around the "advanced" section of "Audio/Visual Settings>Capture Presets>DV PAL 48 KHz>Compressor" I noticed that the settings were 'interlaced' and the aspect ratio was set to 4:3. Should I change these to 'progressive' and 16:9 so I can capture/edit/output my film to same quality as I shot it?"
- The 'Advanced' tab is actually in the 'Quicktime Settings' section not 'Compressor'. Do I take it that the 16:9 box in the 'Frame Size' area is for converting 4:3 on the tape to 16:9 in FCP rather than capturing 16:9 as shot on the tape?
MacBook Pro (2.16GHz/2GB) Mac OS X (10.4.7)

New capture preset/Easy preset for 12-bit camcorder audio

I just got a bunch of camcorder tapes to edit in FCP 6. I've read on the internet all about the 12-bit /32 kHz audio issue. Most of the solutions seem to involve importing the clips via iMovie, and then exporting with 16-bit / 48 kHz settings. This adds an extra step to the workflow and time is money. Plus, it seems a bit odd that FCP can't import 12-bit / 32 kHz video directly. I know that FCP is a professional program and the documentation implies that 12-bit /32 kHz isn't professional quality but since most camcorders are set to 12-bit / 32 kHZ as a default and people don't know how or didn't know to change the setting to 16-bit / 48 kHz, it seems like FCP would include this ability.
I've posted a screen capture of the capture preset window here http://www.macgeoffster.com/files/easypresetscreen.jpg
Does anyone know why FCP doesn't have an option for 12-bit / 32 kHz?
Does anyone know how to get 12-bit audio as an option in the capture/easy preset screen?
If I choose 16-bit / 32 kHz (the closest option) what will that do to the audio?
Thanks in advance!

macgeoffster wrote:
This adds an extra step to the workflow and time is money. Plus, it seems a bit odd that FCP can't import 12-bit / 32 kHz video directly. I know that FCP is a professional program and the documentation implies that 12-bit /32 kHz isn't professional quality but since most camcorders are set to 12-bit / 32 kHZ as a default and people don't know how or didn't know to change the setting to 16-bit / 48 kHz, it seems like FCP would include this ability.
Well time IS money in the professional arena, but a camcorder doesn't belong there, neither does an operator who doesn't know how to change this setting or the necessity of doing so.

Beta to FCP HD timcode errors & capture presets

I'm running a BetaSP deck to my G5 and when I attempt to capture I get an error message saying that the timecode was lost and that I have to recapture. The Beta tape I'm using is a professional telecine done from a super-16 print (if that matters). Assuming that there isn't an actual break in timecode from the Beta tape, what else could be causing this? Does it have to do with he capture preset?
Also, on a side note, when capturing from a BetaSP tape, is there a capture preset that will give me a full quality captured clip?
This is driving me crazy and if it continues I'm going to have to use Avid and I really don't want to do that.

I'm running a BetaSP deck to my G5 < </div>
You're not running it in directly, the Beta has no Firewire output. So how is it connected to your computer and how are you controlling it? Decklink, AJA, Dazzle, DA-Max, Laird?
The Beta tape I'm using is a professional telecine done from a super-16 print (if that matters). < </div>
Not in the slightest. Video is video. The film is just video now.
Assuming that there isn't an actual break in timecode from the Beta tape, what else could be causing this? < </div>
The communication between your deck and the G5, usually hooked up via your capture hardware, is not working properly. You need to follow the mfr's setup instructions very carefully.
Does it have to do with he capture preset? Also, on a side note, when capturing from a BetaSP tape, is there a capture preset that will give me a full quality captured clip? < </div>
Nope, video is video, assuming you get the input configured correctly. But you must use the preset specific to your capture or digitizing device, which you have not told us about yet.
This is driving me crazy and if it continues I'm going to have to use Avid and I really don't want to do that. <</div>
What's an Avid? You may have to go back to your Avid if you cannot get your G5 to recognize the hardware between the Beta and Macintosh.
bogiesan

Different Capture Presets for Multicam editing

I shot a live music event with 3 cameras over a period of 5 weeks. Four of those weeks, all the material was captured as 4:3.
However, one night a friend with a more professional camera attended, and I borrowed his to use as one of the 3 cameras. This camera shot 16:9 (we opted not to shoot 24p on it so that it would match the other cameras), and now I'm wondering how I should import my footage if 2 of the cameras were 4:3 and this one was 16:9. Since the rest of the project was shot 4:3, I think it should remain that size.
Do i change the preset when I capture the widescreen footage?
Mac OS X (10.4.8)

What kind of camera was it? Was it HDV? If it was,
capture using the downconvert feature, and (at least
the Sony's offer) crop the sides off.
If it wasn't, well, you're not going to be too happy
with the quality. Capture it as widescreen, then
blow it up in your 4x3 sequence to fill the frame.
You can either stretch it vertically or both ways,
which will lose resolution.
Need to think about these things a little more before
you shoot. I hate when people say "We'll fix it in
post." I'm more of a "fix it in pre" kind of guy.
I actually wasn't anticipating having this camera there that night, but when it showed up, I decided using it would be better than just having 2 cameras.
I don't think it was HDV, we used miniDV tapes. So I think I will have to do what you recommended, capture it widescreen and then make it 4:3. I'm hoping that since this camera was much higher quality than the other cameras I was using that this will compensate for having to adjust the image after the capture.
Mac OS X (10.4.8)

Capturing preset for 32K 12 bit

This should be obvious. It is simple in FCE. Have footage recorded in NTSC 32K 12 bit .. where is the Easy Setup? Where is the Capture setting in A/V Settings? Or in the capture screen? I don't see it.

Both of you should open up the easy capture preset for DV/NTSC (or PAL) 48khz. Copy it. Change the audio to 32khz/16bit. Save it with a name that makes sense to you. You now have a preset for DV with 32khz audio.
fwiw - 32khz/16bit works fine with 32/12 material. The extra bit depth causes no issues. It is the sampling rate discrepancy that is the problem.
x

Cannot change "capture presets"

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