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[celeste] “In the past I have resized all my imges to import into a fcp project
is it still essential to save psd still image as 720 X 534 Std.
720 X 534, and then change the image size to 720 X 480 and uncheck constrain porportions to prepare for fcp import or will FCP 4.5 automatically resize image?”

You still do that with PS7 and FCP.
Its not FCP that changed, but the “new” Photoshop “CS” that has the added “DV” setting.

Its not “essential” to do this but it is the proper procedure.

[celeste] “If images have been saved as 640 X 480 or another setting, would it be possible to re-save the initial psd file as the correct image file for correct viewing in fcp. is this 720 X 534?”

Yes, but the quality might suffer a bit as the pixels will be slightly “enlarged” and “smoothed” by PS.

I suggest that you EXPERIMENT with a few of these images in FCP.
Try some images in FCP at their (unaltered) 640 x 480 (or whatever) size and then try the same images after you “up-size” a COPY of them in Photoshop.

You’ll need to put each of them on the timeline, render them, and view them on an external video monitor to check which versions look best.

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[davidtoo] “but why the grey out?”

Because when you “imported” the first time, iTunes was actually playing FROM the Memory Stick (it did not make a copy to your HD.)
When you pulled the m-stick out, iTunes no longer had access to the file (grayed out).
That’s probably why it was skipping when you first tried this whole thing.

When you converted to 48 kHz, iTunes DID create a new (48 kHz) file on your HD.

If you want to avoid this (and you really don’t need to worry about it if you don’t use much REMOVABLE media) you can go to:

iTunes(menu)> Preferences > Advanced >
Check the Box: Copy files to iTunes Music folder when adding to library

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Hey Jeremy, your answer was virtually the same one as the first answer to this thread (see debe’s post).

My reply was to explain how to get out of a multi-layer video scene DIRECTLY into a single-layer “clean” scene (no dip-to-black).

But, we all gave about the same answers, so I guess we have to divide the cash prize equally.
Anyone got change for a nickel?

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That Shane…

He’s quicker-on-the-draw whit his stock answers than I am.

(But I’m gainin’ on him!)

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In general
(we have to say things like “in general” because some folks might be trying to use copyrighted music when they have not gotten legal clearance for it and that is not allowed, so…)

In general, you can use iTunes to convert mp3 and CD (44.1 kHz) audio up to 48 kHz audio to import and use in a 48 kHz FCP timeline.

iTunes conversion is a simple process after the initial set-up presets:
iTunes > Preferences > Importing > AIFF> Custom > 48.000 kHz, 16 bit, Stereo >OK

Once these are set, you won’t have to set them again.

Put a CD in the Mac (or use a imported audio file that’s already on the HD), open it up in iTunes, click once on the track you need, and choose:
Advanced > Convert Selection to AIFF.

Works VERY fast and stores new 48 kHz file in on your hard drive. You can just “drag and drop” this new file (.aif) into your open FCP Browser.

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[cowgirl215] “I need to bring in ftg from another device how do I set this up, it’s not on tape”

There are certain monks in a far-away land that use the power of the mind to import footage that is not on tape.
This is called the “Think System”

-Professor Harold Hill

Thanks professor, but I THINK (ha-ha) that Cowgirl215 needs to tell us MORE about what she wants to do so some of us here can help her.

So, CG215, EXACTLY what kind of footage do you have that is not on tape?
What kind of device is it on?

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Yes, there are two delete keys on the keyboard.

The “delete” key to the right of the +/= key will NON-Ripple delete (if you don’t hold down the shift key).

The “del” key with the x inside the arrow (below the “help” key) will always Ripple delete (if that edit is “allowed” by FCP.

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[Danrnw] “Don’t you think there should be some kind of way to tell FCP
that those two layers are supposed to be one effect?
So it would dissolve down as one thing?”

That is EXACTLY what the “nest” is all about (one purpose, anyway).
You need to consider that your example, in this case, is very basic.
There are times when you may have 5 layers, 12 layers, many more… that would EACH become “transparent” if you added an individual dissolve to each layer.

The nest would solve the problem, but I don’t use nests for this, because…

There is also (at least) one other way to accomplish what you asked about.
If you have a 2-layer (or 22-layer, for that matter) effect and you want to dissolve from that to a new clip, just put the new clip on the layer ABOVE the multi-layer effect.
Add the dissolve to (or ramp-up the opacity of) this new clip and it will “cover” the layers below it, all at once.

As you said, you just need to stop thinking about the FCP timeline as a “switcher” and think of it as more as a “pure image.”
Its like creating a “painting”… you can cover anything by “painting over” it.

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You can use any microphone connected by cable(s) to the XL1(s).

Because of the nature of this question, I suggest you look up “Canon MA-100” and/or “Canon MA-200” on Google.

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[paragonNick] “I would like to make 15 dubs on 15 separate tapes”

What workflow are you looking for?
What kind of tapes?
What deck?

Why don’t you just manually play the timeline?

I make multi-copy dubs to BetaSP all the time.
You need to change tapes after each dub anyway.

Procedure:

1. Hit “Home” on the keyboard to pop FCP to the head of the timeline.
2. Load a new tape.
3. Hit record on the deck.
4. Play the FCP timeline (Bars&Tone and Slate and the Spot are on the timeline).
5. Stop Deck/Rewind/Check Tape/Rewind
6. Eject/Add Labels/Close Box

Repeat ’til done.