[Anne Davis]

Extremely helpful response, I just wish I has posted my question a day earlier since I didn’t think to backup my older version of the FCPX software

I’ll follow the steps you mention (and in the very clear video tutorial) to back up my Libraries until I’m sure the update is working for me.

Really appreciate your help!

[Anne Davis]

The DIY approach Jeff suggested, as well as the additional tips from Jeremy and Mark, worked out well. I’ll be looking further into the plug-ins for comparison on the results. Thanks to all for the helpful answers.

[Anne Davis]

Thanks for such a detailed and comprehensive answer. You’ve been a tremendous help!

[Anne Davis]

Thanks again for another helpful answer to one of my posts.

The aspect ratio of the frame on the DVCProHD is 1280×1080 versus the
DSLR MOV clips that are 1920×1080 before and after ProRes 422 conversion.

Will both aspect ratios work together on a FCP6 editing timeline where the sequence setting is ProRes 422?

I’m concerned there may be some quality loss if the DVCProHD files are “blown up” to the 1920×1080 aspect ratio of the MOV files on a ProRes 422 1920×1080 sequence setting.

Both cameras have 24p settings, and I was planning on using that frame rate in hopes of achieving a more “filmlike” look.

Any advice is much appreciated!

[Anne Davis]

Thanks for the reminder, if I had to guess at this point distribution would most likely be Video on Demand and/or DVDs. That being said, I’m wondering if shooting 24p (presumably for a more “filmlike” look) would
create issues/additional costs for Broadcast or DVD creation. I’m assuming 24p is a plus for DCP creation, but would appreciate any helpful feedback.

[Anne Davis]

Thanks for stepping out the process and the costs! This file is being requested by a film festival in additional to the playable DVD screener of the movie.

SInce it’s only for entering the competition (the film hasn’t been selected), I think Compressor makes the most sense.

I’ll probably also contact the festival to try and get some more info about the intended end use of this H264 file version, since I doubt I’m the only person who didn’t shoot their project in a readily compatible format.

Thanks again for your help!

[Anne Davis]

Thanks for the response – I actually shot interlaced 29.97.

[Anne Davis]

I’ve followed your advice (to myself and to others) in this forum in the past and you’ve been a lifesaver many times!

Thanks again for your help,
Anne

[Anne Davis]

I’ll have all the equipment this afternoon for tomorrow’s shoot, so I can do a test and take everything
into FCP6 and check the synch.

I know there used to be an issue when Dual Eyes was used to synch DSLR footage
on a FCP timeline and it would drift out of synch over longer clips. I was hoping that
Plural Eyes had resolved this issue, but I know there are newer versions of that software
than the one I’m using.

If the non-profit I’m shooting the video for can interest a local PBS station in airing the completed video,
does anything in this workflow seem like a red flag for trouble or extra cost in post? (I’m only budgeted for
a very basic sound mix and color correct)

Thanks again for all your help!

[Anne Davis]

Shane — Thanks for the helpful and quick response! Anne