[Andy Mees]

Can you be more specific with regards to the problem. How is this “not working” manifested on your system? Eg At what point in the process does it fail to function for you? The “Share” function in FCP is a front-end to sending your edits to Compressor, so your issue may lie there. Does Compressor still work Ok standalone? Were you using Share effectively before with a previous revision of FCP 7? For remote troubleshooting assistance you really need to post as much detail as possible.

[Andy Mees]

Hey Michael

I suspect you may have recompressed the source media but you possibly left your timeline as XDCAM EX, so which case your sequence would then still need to be re-conformed/re-rendered back from your now ProRes source to the XDCAM sequence codec.

Long story short, I think you need to reassess your workflow needs when working with such source footage. Reference movies may be ideal for your needs when working with native footage in an intraframe codec (eg ProRes, DVCPROHD etc) but when working with interframe codecs (HDV, XDCAM, H.264 etc) then its rarely a good workflow … in such cases a direct self contained export to an intraframe target codec is usually the more effective (faster, better quality) choice.

Best
Andy

[Andy Mees]

Sorry Robb, I’m not sure if you’re having a bad day or just feeling itchy, but really I’ve no desire to get into a spat with you or anyone else over this thread. It’s only FCP after all.

As noted, I have already posted an explanation (perhaps not clearly enough) for the OP of the root cause / nature of the issue he is seeing, and have proposed alternative workflows. That you would not choose such a workflow for yourself is absolutely fine by me, but your apparent contention that those alternative workflows that I’ve suggested are just plain “off the rails” is questionable to my mind. But thats fine, its no biggie.

[Andy Mees]

I’d have to disagree Robb. I’ve read thread and fully understand what is being discussed here. Our OP is working XDCAM EX in a native timeline with renders set to ProRes … and is alarmed by the length of time required to create a reference movie of his edited sequence. My original post above explains clearly (I hope) the fundamental reason why his workflow is causing him the problems he is reporting, and further suggests alternative workflows to alleviate his evident frustrations. You appear to disagree with the solutions I’m suggesting which is absolutely fine of course, but I fail to see why you then insist you are “right”?

[Andy Mees]

[Robb Harriss] “something is off the rails here”

Nope, only in your world view Robb 🙂

[Robb Harriss] “The footage is supposed to in ProRes BEFORE it gets into a timeline. Otherwise a lot of rendering is in the offing. “

No two jobs or workflows are necessarily alike, and what’s good for the goose is not always good for the gander. In this situation one could render ALL ones footage to the timeline codec first (and yes indeed, if one chooses to do that a great deal of rendering/transcoding is in the offing) or one can render ONLY that media which is actually eventually used in the sequence (by rendering/transcoding at export). In the context of wishing to speed up exporting a reference movie, this latter version of events makes use at least of any renders created during the edit process (manual render, auto render etc) and so is likely preferable to the edit native w/ ProRes renders option. The former option will certainly further speed up that reference movie export/workflow, true, but at the cost of considerable time and disc space lost in the initial transcode. Different strokes for different strokes you see … I’m not saying your view of the “correct” workflow is at all wrong, not at all, only noting and describing the significant alternative “correct” workflow options which may (or may not) be preferable.

Cheers
Andy

[Andy Mees]

Hey Dennis

Both Sony’s XDCAM Transfer and FCP’s Log and Transfer require the source media to be contained within a valid folder structure. Sound’s like the source footage you have on that hard drive may be raw media itself rather than the whole kit and caboodle.

If you have a budget for this job, and fear this gaffe may become the norm rather than an exception, then you might want to check out Calibrated Software’s awesome MP4-EX Import component:
https://www.calibratedsoftware.com/MP4EXImport_Mac.asp

Hope it helps
Andy

[Andy Mees]

Hi Anna

The default state for the grouping of your master clip audio, either Dual Mono or Stereo, is defined by your Clip Settings during capture …

In the Log and Capture window, under the Clip Settings tab you can click on the audio link button at left of each source audio pair to toggle between Mono and Stereo.

Once captured you can toggle the status of an audio pair in the timeline by using the Modify > Stereo Pair command (Opt L)

Hope it helps
Andy

[Andy Mees]

Michael

You’re working in a Long GOP based format, which means that each an every clip instance used in your timeline , if altered in any way from it’s source / masterclip, will require some form of rendering if only top re-conform it’s GOP structure based on it’s new state. This is the nature of working in such formats.

If you want to work with such formats in a native sequence and yet still avail yourself of the speed and convenience of reference movies then you need to “fully” render your sequence before export … that includes rendering those parts of the sequence that FCP would not normally need to render for full quality realtime playback. You can do that by ensuring that all render options are checked under the Sequence > Render submenu including “Full”. If and when you set your sequence’s render codec to ProRes, what you are doing is specifying an interim working codec for the purpose of speeding up your timeline workflow during the editing stage … but when you come to master/export then those interim render files are expunged and your entire sequence will be re-rendered / re-conformed to your target output format as appropriate.

I agree with Rafa, if you really want to export reference movie’s then your better bet is to work with your native XDCAM clips but in a ProRes timeline (ie not a native XDCAM timeline).

Best
Andy

[Andy Mees]

George, it’s not that Apple don’t want to give you the option to control their “auto cropping” behavior, rather the behavior itself, as reported here, appears likely to be a bug … as it should currently NEVER happen (even if you actually wanted it to). I’d think we probably all would like more user control over auto-scaling / cropping behaviors than available at present, but this would be a feature request for a future release, as opposed to a bug report with the current release.

Best
Andy

Final Cut Pro Feedback page

[Andy Mees]

Set you Video Playback to “Apple Firewire” (PAL or NTSC as appropriate) and this will send your HDV timeline to your M25 deck as a letterboxed SD DV signal (via a realtime software downconvert courtesy of FCP’s RT Extreme playback engine) … you should be able to watch that on your plasma via the deck, but it’ll be pretty crap I’m afraid.

Best
Andy