[Donal O kane]

Ok, i’ll give it a shot,

I assume by your earlier post you have 6 subsequences ‘Sequences A-F’ which are nested in a main sequence called ‘Main Sequence’ (imaginative huh? 🙂 )

First off, do all of this on a copy of your project, not original. Just so I have said it.

So Main sequence is a fairly simple sequence, with 6 nested clips with video all on V1 and audio on A1 & A2.

Open the timeline to each subsequence and in turn, select all clips (cmd-a), move all video up one track and audio down two tracks, copy (cmd-c) go to main sequence and go to the start of the subsequence in the timeline of the main sequence. Paste (cmd-v). Lather, rinse, repeat.

At the end you will have the nested sequence on V1, A1&A2 and all clips from original sequences above/below. You can delete the nested sequences and should have kept all render files so it should now play.

If I assume correctly that is.

[Donal O kane]

To reset Qmaster/Compressor try
Compressor Repair from digitalrebellion (google for it its the first non-advert that pops up)

Qmaster only has a 32-bit version currently, and the FCS 3 qmaster preference pane has a button on the bottom to reset services.

You have to press the stop sharing button first in order to make any changes to sharing/managed settings in the qmaster preference pane. You don’t need to check managed to get a quick cluster to work and rendering is for shake, not fcp motion or compressor so I don’t check it, however should not a difference.

[Donal O kane]

Nested sequences and multicam?

Everytime I have used either I have run into random problems.

Have you tried copying the elements of each of your nested sequences into a non nested master sequence and rendering/playing that?

Not exactly the answer you were probably looking for, but it is what I would do, not use nesting that is.

[Donal O kane]

I found the quickest and most reliable way (for me) was to do something similar to the above generator layer method.

I used a 2.35 filter over a white square, exported as a photoshop file, opened in photoshop, selected the white and deleted so that you have a transparent background and then bring back into fcp and dropped it over the entire film.

It might be my imagination, but I have always found this way renders faster than generators?

[Donal O kane]

It is annoying and must be because of the downconvert but I have found that the most reliable way to sort this out is to copy the sequence and slide the timeline 1 frame.

I have delivered about HD 20 programs on Digi this way and it gets them frame accurate every time when I slide on the timeline.

It’s not pretty or how it should work but it works.
If you do find a way you post it up!

[Donal O kane]

Hi,

Is this Paco that went to Clonkeen?

[Donal O kane]

You could also try and see if the alpha settings are different from your sequence

(modify->alpha type … should be set to none/ignore)

[Donal O kane]

oops repost!

[Donal O kane]

It really depends on what you are planning to do.

options are:
new laptop
new mac pro
older tower mac pro

I’ll start by saying that I regularly online and color grade HD programs with my pre-unibody mac book pro 17″ connected to a FSI broadcast monitor via AJA io express.
I’ll continue by saying that it is right on the edge of working and I have had a few dodgy moments/crashes, none that have delayed or caused problems that couldn’t be fixed
Somedays I do feel like I have painted myself into a corner, i’m still painting but room to move is limited.

As soon as the new mac pro is announced I will be be buying one.

so types of usage
a) high end HD/RED with need for broadcast monitoring
b) regular cutting, not pushing things too far but decent usage
c) playing around every now and then

for a) i’d:
get a brand new 17″ macbook pro (only one with the expresscard slot)
or
brand new mac pro (once the 12 core comes out)
or
used quad core mac pro (or 8-core if you can get a good price but these are the top dogs for now and until 12-cores arrive) or quad core G5 with PCI-e

the new laptop and new tower will be a similar price,
laptops are easier to move about.
laptop has options but they are limited for full broadcast work and just on the edge
towers are the most flexible

As for the used towers loads of people on these forums use them all the time for high end broadcast work. They will tell you that for this type of work it is more important a) what storage you have and b) what input/output card you have c) what monitor you have and finally d) for some apps like color your graphics card.
towers with pci-e give you the most flexibility to used the newest in storage, input/output, graphcis etc. all of this is in my opinion by the way.

for b) you can use any new macbook pro, any tower and even an imac will work nicely.
but as you go down this list your options to extend into more broadcast type work becomes harder/more expensive.

for c) anything goes.

so in summary … it all depends on what you want to do. you of course want to spend as little money as possible but this can be a trap as cheaper computer can lead you down the wrong path and limit you to more expensive hardware to get the job done.

laptops will work, some will say they won’t .. but people said final cut pro would never be a serious editing program and some said that a program like color would never take the place of hardware color grading. But it is cutting the edge of workability very finely, not for the faint of heart 🙂

If I could talk to me 3 years ago before buying my 17″, i’d now own a quad core mac pro.
And maybe have back problems from moving it around so much … but i’d have more hair, and slept a lot more.

Good luck!

[Donal O kane]

oh, didn’t see the i7 macbook bit, i have used unibody 17inch and previous version and only gotten 1080 ProRes (not HQ) you’d have to test it for the new one I guess, but is still dual core isn’t it?