[David Roth weiss]

Very odd, especially since so much was made of morph cut when it was initially released, and that wasn’t a long time ago.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

You could go to sleep and hope that gremlins come during the night to do your work eyeball syncing… Or, you can do it yourself. PluralEyes requires an audio guide track recorded on the video clips, so eyeball syncing is your only choice.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Don’t over-think the situation Paul… DVDs have been routinely used to screen movies in movie theaters for years, and the they look just fine. No matter how you slice it or dice it, a DVD is essentially what you’re gonna be screening in your case, regardless of any steps you might take to try to improve the video you’re ripping, and no extraordinary steps are going to polish it in any significant way, because it’s already been compressed at approximately 25 to 1.

If you rip the DVD directiy to ProRes 422 you’ll get video that’s as good as you’re gonna get.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

There is no difference in dual mono and stereo made from dual mono.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Just transcode to ProRes Proxy, but keeping the same pixel dimensions.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

FYI, the Rec 709 element from Premiere I earlier mentioned is actually a LUT, and it’s designed to ensure that the color space of 4K footage is properly converted to Rec 709 when when down-rezed to HD. So, has little to nothing to do with your question Don.

So, forge ahead and know from this point forward that, if your video was acquired in-camera as HD, and edited in a ProRes 422 1920×1080 sequence, you should not really have to think too much about its being Rec 709 compliant.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

If it helps, I’ve had many a show broadcast on television that was mastered with ProRes 422 right out of FCP 7 with zero rejections.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

In theory, yes Don… However, I’m not 100% certain if FCP Legacy codecs are 100% compliant, simply cuz they’re old. I understand that Premiere has a Rec 709 filter if that’s any help. I’ll look into Premiere to see exactly what that filter does a bit later if you’d like?

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

https://en.m.wikipedia.org/wiki/Rec._709

The high definition standard. – 1920×1080.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[David Roth weiss]

Bobby,

If all if your footage was progressive and was being misinterpreted as interlaced, switching to “None” would fix the issue… But, you have a mixture of progressive and interlaced, so there’s no magic bullet one click fx for you in FCP Legacy.

If the majority of your footage is progressive, your seq settings should be set to None, but you’ll “most likely” have to deinterlaced the remaining interlaced footage, because FCP Legacy does not deal with field mismatches well at all. FYI, Premiere and all modern NLEs do a much superior job.

FYI, FCP’s deinterlace filter also sucks, so you may have to use a third party deinterlacer.

David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los Angeles

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.