[David Roth weiss]

And, let’s not forget, at some point during the year you posted that we’re going to stop posting, but you really never did. That added immeasurably to all the excitement.

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’re correct, I was wrong, Livetype did in fact disappear after FCS 2, and thus FCP 6. However, many users copied it from their FCS 2 discs to their boot drive running RCS 3, and it did work, at least it did with older versions of OSX.

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]

Livetype is on your FCS 3 install discs

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 sweat it Bobby, the only thing issue you may have is possibly having to render the audio. If you’re really concerned, open the 44.1khz track in QT Player and export from there at 48khz.

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]

That adds a whole layer of difficulty for you. You’re just going to have to try in both apps, that’s all there is to it, because, as said before, the amount and type of movement is the critical variable, and you won’t know what works until you look with your own eyeballs.

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]

Hi Ashley!

I can help you sort this out, but I’ll need to remote in to your Mac to see exactly what you’re doing now, and to teach you a workflow that works every time.

Just drop me an email at drw@drwfilms dot com and I’ll tell you how it works.

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]

Before you do anything else, try dropping some of your 23.98 material into a timeline setup for 29.97, and then evaluate the results on a video monitor (not on a computer monitor), because you will want to see his the fields are displayed (you can’t properly display fields on computer monitor).

If it looks good to your eye, then you’re home free… Sometimes this simple method works, sometimes not, it all depends on the speed of the action, etc.

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]

[Shane Ross] “Look at your preset…it’s set to NTSC DV. And the format…QUICKTIME…gives you very limited options. Click on QUICKTIME in the FORMAT dropdown and choose H.264. Then click on your PRESET and see a whole SLEW of options open up to you…”

Shane has this right…

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]

[Herb Sevush] “You can’t really include Premiere Pro in here. Premiere Pro was, exactly like FCPX, a totally new program with zero backward compatibility with Premiere. Like X, the only thing carried forward by Adobe was the name.
“

I respectfully disagree with you Herb – not that everything you said about Premiere isn’t 100% accurate, just that Premiere, while rebuilt, does not require relearning an entirely new editing paradigm and entirely new lingo. It’s essentially very familiar to anyone who’s used earlier versions of Premiere, FCP Legacy, etc.

So, while you are technically correct, I think Premiere is still close enough to its earlier iterations that it should be considered as still here after all these years. (***FYI, Avid was also rebuilt from scratch at one point, but it’s also similar enough to call it old at this point)

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]

It will be very hard to discern any difference in the above two methods.

However, you’ll need to balance ease of editing (cutting HD) vs cutting a future-proofed 4K version, which will be harder on you and your computer, but will enable output of a 4K master, from which you’ll be able to output any resolution you desire now or in perpetuity. Since perpetuity is a long, long time, I always tend to choose the very highest res possible for my masters.

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.