Working with Uncompressed Beta in the Timeline

I am trying to figure out how to work with uncompressed Beta footage in FCP 5. I have tried changing my timeline settings to the format that my footage was digitized (8 bit Uncompressed) but FCP still drops frames. The only other thing I have been able to do is render the footage in a standard timeline, but everytime I make a cut I have to render again. Is there a solution?

An ethernet workflow (sharing media over a LAN) even with gigabit is really only semi-doable. I've done it on DV projects, as have others here, but the problem is consistency of delivery, even under DV conditions, I sometimes got dropped frames.
If you're doing uncompressed 8 bit, you can do that off a single internal SATA drive, 10 bit would require a controller and softraiding (that's the route I went).
But I'd definitely say that your problem with dropped frames is most likely the result of accessing high bandwidth requirement media over an ethernet connection.
Finally - how are you displaying this timeline? Surely not firewire, so do you have a display/capture card like Kona/Decklink/Etc?
Patrick

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Working with two videos in the timeline

So, I just picked up FCE, have been wanting it for a while and thought this would be a good opportunity. I recently shot a wedding for a friend. I used two cameras for the ceremony, one in the back and one in the front.
Now I would like to line up the two videos and transition back and forth between the two. Is this easily doable? It's a bear to get them synced, do i have to redo that every time I switch?
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1. Place the video from the camera you'll use the most shots from on track V1.
2. Place the video from the other camera on track V2.
3. Double-click the video clip on V2 to load it into the Viewer window.
4. Click on the Motion tab.
5. Scale to about 45 or 50%.
6. Use the Center control to position the clip in one corner - you should now have a picture-in-picture effect.
7. Find a common point to sync the two clips in the Timeline. A photographer's flash is usually a good point. Place a clip marker in each clip at the sync point you've chosen.
8. Drag one clip so the two clip markers line up. It may help to zoom in on the Timeline to make sure they're lined up perfectly.
9. Once you have the two clips in sync, cut out the parts of the upper clip that you don't want to use.
10. When you're finished with the cutting, select all clips remaining on V2, right-click on one and select Remove Attributes->Basic Motion. All clips on V2 should now be full scale and centered.
11. While all clips on V2 are selected, drag them to track V1 while holding the Shift key.
12. Add transitions as needed.
-DH

Adobe encore the software that's used to decode the media is not available on this system. installing the correct decoders for the file you are working with may help correct the problem

Hi,
I got this message after importing about ten or so H.264 files that I encoded from Adobe media encoder. "adobe encore the software that's used to decode the media is not available on this system. installing the correct decoders for the file you are working with may help correct the problem."
The files we're shot with HD cameras. Edited in Premiere Pro CS3. I installed the update 3.0.1 with still the same error.
I also tried a brand new project and after about ten or so files being imported into a timeline, the system crash. I tried this twice....
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Hi Hunt,
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Static_Unit
I am getting a bit concerned about what is happening in your situation. Yesterday you posted your question in at least two different forums, one of them being here in the Premiere Elements Forum.
Don't Have Serial Number for Premiere, Only Photoshop?
Wherever you posted, the reply was to contact Adobe via its Adobe Chat. It is the only one who can sort out this matter for you.
In the thread cited above I offered to help you with the difficulties that you were having visualizing the Adobe Chat in its web page. I was waiting for your follow up on that in the above thread. Instead, I find your same question in a new Adobe Premiere Elements Forum thread this afternoon with no refer the prior threads or prior recommendations given you.
I will also mention again...when you buy the Photoshop Elements and Premiere Elements bundled in one packaging and with installation files for each on the same installation disc, each program has its own serial number. The Photoshop Elements serial number does not work for Premiere Elements and vice versa. The serial numbers are on labels on a box which houses the installation disc envelope(s). So, if you purchased both programs and found the Photoshop Elements serial number, then the Premiere Elements serial number should be in a label right underneath the label with the serial number for Photoshop Elements. I recall writing this in your yesterday's thread on this matter.
The moderator will no doubt be along shortly to close or delete this thread. So, just in case, please bookmark your yesterday's thread cited above so that we can continue this communication which is trying to help you.
Thanks.
ATR

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Thanks for your responses :-)
I'm working on Windows 8.1... I think that I may have found the issue... I was saving the file in a project directory rather than the default My Captivate Projects folder...
Perhaps Captivate was struggling to find resources it needed?
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Please read, and reply back here with information https://forums.adobe.com/thread/1499014
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http://myleniumerrors.com/installation-and-licensing-problems/creative-cloud-error-codes-w ip/
http://helpx.adobe.com/creative-cloud/kb/failed-install-creative-cloud-desktop.html
BLANK Cloud Screen http://forums.adobe.com/message/5484303 may help
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Mac Spinning Wheel https://forums.adobe.com/message/5470608
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What is the best way to work with mixed media in 1080 timeline?

Hi there,
I have a project shot mostly in 1080 24p but a bit of 720 24p and 4x3 30p footage.
What is the best way to work with this mixed media?
Thanks!
Steven

Hi Shane,
Ok just to recap (thanks for being patient by the way)...I have put some questions in here...feel free to write in caps to respond and we'll put this baby to rest!
1) I will work in a 1080p FCP sequence, correct?
2) HD 1080p footage captured as applepro res hq I will leave as is and work with?
3) HD 720p footage which was captured as applepro res hq. Can I just drop in 1080 timeline and let FCP do its work? Or should i run through compressor, if so what setting shall I submit it too?
4) I dont have a budget for an external hardware to convert SD to HD...should I capture my SD Beta through Final Cut and just leave and let FCP do its work? Or should I run through compressor? If so what setting shall I submit it too?
5) For for my master sequence in FCP am I not using an I-Frame format apple pro res if I am using my apple pro res hq 1080 footage as my formatted sequence? I am not sure what you mean by GOP?
6) I also found some 60p footage 1080p XDCAM compressor shot with the same XDCAM camera. I put in the 1080p 24p timeline but it was pretty choppy...any ideas of this conform?
Thanks very much for all your help it has gone along way,
Steven
Saying what CODECS you are working with was my question. 1080, 720, 4:3...really says nothing. There are a dozen 1080 codecs, another dozen 720 codecs, and nearly 100 4:3 formats.
Best to capture all the footage to one uniform codec.
Second best is to work with one format and let FCP conform the rest to that...IF and only IF that format is an I-Frame format like ProRes. GOP formats as master sequence formats cause TONS of issues.
What I'd do is work 1080 ProRes, just add the 720p footage (Use Compressor to convert it if you didn't have a lot, but if you had a lot, just add it), but I'd capture all the SD 4:3 footage via a Kona 3 or Matrox MXO2 as 1080 ProRes. Hardware conversion of SD to HD is much better than anything FCP can do. AE might do good as well. But then use Compressor to convert 29.97 footage captured (you can't convert 29.97 to 23.98 when you capture) to get to 23.98.

Working with Uncompressed Beta in the Timeline

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