[Andy Mees]

Thanks Gary

I’ve said to folks countless times myself (usually in regard to editing in FCP Classic) that they need to view at 100% to check for issues, interlacing etc, so you’re right of course, in that making that 100% pixel for pixel display possible within a regular viewer window can’t be a bad thing.

My point if any though was (and Tim cuts straight to the chase below) that the window itself may be too small for the less eagle eyed amongst us to actually spot that there’s a problem. I mean to say, obviously the window / UI itself hasn’t got smaller, but I’m suggesting the less wary might infer from all the Retina marketing and hyperbole, that just because they now have a pixel for pixel display in the viewer that they are actually “seeing” all those pixels.

It puts me in mind of good old fashioned 14″ portable tellys from back in the day, remember watching one of those? I seem to remember, years ago, my mum complaining that her “new” big TV didn’t have as good a picture as the little one. I explained that the picture was actually the same but that now she could see just how bad it was. Didn’t go down especially well by the way. Anyway, as it happens I’ve got an old portable in the back room, and when my family’s big screen TV’s power circuitry fried unexpectedly a while back, it got to enjoy a brief return to glory front and centre in the living room. The picture was great, really crisp and sharp after having been watching that (sadly crappy) LCD for so long … it was perfectly fine for most things, but oh lordy, watching a nice movie, or Game of Thrones etc was just awful because I couldn’t “see” it in all it’s glory, the detail was there but just sitting a bit closer was not the answer. The answer turns out to be the lovely Panny Plasma that I’ve replaced it with, absolutely gorgeous picture.

But I digress (as usual). Back on point, having access to that 14″ portable tv crispness at all times within the Viewer window has got to be a good thing, and as long as I can also view it at 100% and full screen (or some technically accurate semblance of that) then I’d imagine I’ll be a perfectly happy Retina camper … tho obviously I’ll have to buy one first, which could be a while, long lost rich uncle’s notwithstanding.

Cheers
Andy

[Andy Mees]

For burnt in subtitles, no … at least, not unless you specifically make separate 16:9 and 4:3 masters, in which case you could then burn your subs on the 4:3 master within the letterboxed area.

[Andy Mees]

[Craig Alan] “I also don’t get why its called a favorite. “

It is what it is, just a favored selection that you are choosing to preserve. Remember that this is an app for the masses and so it uses terms and concepts that are easy to intuit for new users. Means some of us have to retune our processes a bit, but that’s not the end of the world.

[Craig Alan] “So if instead I can use keywords for an unlimited variety of “subclips” then I guess favorite would be the favorite among them?”

Yes and no … it’s up to you 🙂 Play with a while and find what works best for you … flexibility is part of its power.

[Andy Mees]

Hi Wayne

You can use a Shape or Color mask to isolate just specific areas or colors within the image you want to correct.
https://help.apple.com/finalcutpro/mac/10.0/#verca9e937d

Cheers
Andy

[Andy Mees]

It doesn’t work Craig not within an existing favorite range (just one of the reasons why the lack of persistent IO’s is daft) but it’s not too hard to workaround it … go back to the master clip, select the favorite range, and press the “U” key to un-favorite (unrate) it … now you can reselect your preferred favorite range with the usual I,O,F. … or instead of making a new favorite, you could just mark the refined selection with a keyword range selection instead. Don’t forget to send your feedback to Apple about this.

Cheers
Andy

[Andy Mees]

I recall that Christoph was a regular contributor on Ken Stone’s website (https://www.kenstone.net/) … it may be worth trying to contact him in the discussions forum over there.

[Andy Mees]

Hey Jeremy
When you review your favourite, are you able to refine it easily… does I, O, F still work on (within) an extant favourite?
Cheers
Andy

[Andy Mees]

Thanks Simon.

[Andy Mees]

If you are planning on editing in FCP 6 then your best bet is to convert to ProRes, try to avoid H.264 as FCP 6 doesn’t handle that format at all well.

[Andy Mees]

Hey Eric
Do you have a PC or Windows machine available? A possible workaround for a one off conversion would be to download and install the Grass Valley EDIUS trial (onto a PC, or a Mac with a Bootcamp or Parallels based Windows install). That should be able to take your ProRes file and spit out a GXF version using the included “GXF Exporter” module … perhaps worth a try.
Cheers
Andy