[Bill Bilowit]

Well, I tried all the solutions in this thread, and no go. I trashed prefs and all that as well, etc., and the same problem exists on my other system.

I also tried bringing all 3 of the 30min. timelines together into one fresh 90min. sequence, but the many many hundreds of filtered and effected clips were too much for FCP to manage; weird missing shots ensued.

So I now wonder how I will EVER AT ALL be able to export a native, ie: current settings single FCP QT of this project without recompressing???!!!

I need to make the single clip file for back-up and for others to convert/encode, etc.
If Apple has ever mentioned this issue I can’t find it on the web.

[Bill Bilowit]

David, I answered my own question– re-exporting the imported rendered clip from the browser is taking 5 TIMES LONGER than the first export of the same clip, so it sure seems recompression is happening. Same 5x time investment as re-rendering it in the timeline, or selecting “recompress all frames”, lots of extra time and an extra compression level for the media.

Next I try Shane’s method of trashing all renders and re-rendering all the many clips on a timeline that need renders and see if that works.

More soon…

[Bill Bilowit]

David (dheidel) said: “Export the whole timeline as normal, then open the new Quicktime movie in Final Cut and export that clip to a Quicktime movie. The second Quicktime movie opened fine, fit in my timeline, and, as I said, I couldn’t see any difference between the first and second.

Thanks for the tip, but when you say “the second Quciktime movie” do you mean the 2nd export-import should ALSO be an FCP current settings QT?
Or a QT conversion into the same format I’m working with?

[Bill Bilowit]

If only a way to isolate a cause, and if only a known, dependable workaround.

Is a recompress upon export going to add much grit, becoming more noticeable as I make MPEG and H.264 encodes for reviews? Later today I must try it, hope it’s worth the four or five times longer it takes, if my schedule even allows.

[Bill Bilowit]

1) The 200’s tapeless workflow for HD is a world apart from shooting and capturing tape. If you don’t see the big benefits of tapeless capture and ingest, stay with tape. Or get the Sony and shoot to hard drive.
This forum and the P2 forum have had detailed discussions on tape vs. P2 cost and storage, do a search.

2) The 200 has variable frame rates when using 720 modes, a full range of over- and under-cranking.

3) With Panasonic’s DVCPROHD format, 1 frame is 1 frame, not a group of frames like HDV.
(However, you could always convert HDV footage to intra-frame upon capture.)

These are the three unique aspects about the 200 that made it something of a revolutionary tool, not just another prosumer/low-end HD camera.

If networks preferring a 720 master is your main issue: you don’t need to be shooting in it, as long as you deliver in it.

[Bill Bilowit]

Maybe the answer is in Systems Settings>Playback Conrol>Frame Offset… set it to “0” for no delay in the canvas. If you’re watching on an external monitor thru a firewire device, adding to this offset puts that monitor in sync.

[Bill Bilowit]

A mouse can be tricky as your hand shifts the cursor unexpectedly with vehicle to and fro and bumps, or you find yourself gripping your tablet pen too hard. A nice big trackball may be more accurate and easy on the hand if your work surface is in motion.

Also, foam or cushion along the table/desk edge and a lumbar pillow help.

[Bill Bilowit]

I believe there are countdown movies in the Extras folder in one of your FCP install disks, labelled “Leaders”.

[Bill Bilowit]

One of these might do (check with support there to ensure compatibility):

https://www.profoundeffects.com/products/camerapov/

[Bill Bilowit]

Thanks for the info, Shane. And the speed! Now I can order before close of business!