If you were editing this particular project, you most likely would have started in full resolution, because not that much media was associated with it to begin with. You were supplied the files in an OfflineRT resolution for three reasons: That's all that would fit on the DVD, these files play back from any qualified Macintosh, and renders are much faster in this mode because the media files are so small. You were given high-resolution audio files because they simply don't take up the space that full-resolution video files do.

But consider how you could handle a very large project. You very well could capture much more footage per gigabyte of available storage. OfflineRT files take up only about one- eighth the storage space of full-resolution DV, which is only about one-fifth the size of uncompressed video files. So, in essence, if you were working in uncompressed video, you could capture 40 times as much media to create your program and have only enough storage space to recapture what was used.

There are some rules to live by here. You must have the original files (such as the audio and graphics files in "The Midnight Sun"). All other files must come from a timecoded tape source. You cannot recapture automatically or "bring online" any video or audio any other way. I again suggest that if you have source footage from a nontimecoded tape, you dub that tape to DV or another format that does have timecode, and start editing from that tape instead of the original. This new tape will become one you can batch-recapture from instead of the original.

If you had the tapes that the picture files came from, (there was only one, actually), you could recapture this new full-resolution sequence as fast as your machine can search the timecode and render it as fast as your computer can render. Note that dual processors count with those rendering times!

If the source material came from multiple tapes, Final Cut Pro asks for these tapes in a list it creates. You load the tape and tell Final Cut Pro which tape it is. The program captures from that tape all clips in their order of appearance on the tape, from first to last. It makes no difference where these new clips reside in your sequence. It's truly the fastest way to recapture in higher resolution only the media used in your sequence.

Appendix A walks you through the steps of bringing in media from tape (whether you are batching or just capturing for the first time in preparation for an edit). Appendix B teaches you how to lay your finished program back to tape or prepare it for the web or DVD.

Jerry Hofmann on Final Cut Pro 4
Jerry Hofmann on Final Cut Pro 4
ISBN: 735712816
Year: 2005
Pages: 189 © 2008-2017.
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