[Doug Beal]

See if you can get some clips to work with so you get a feel for this. there’s a lotta ways to skin this red cat, and more evolving. Red is a moving target. get the principles on debayering down and be aware that the project needs preproduction more than anything else
there are several opportunities to do some great work or bone yourself completely

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I’m Well
those pesky checkboxes
cheers

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

You could master to HDCam at 23.98 and then select 23.98 PD on the HDCam (not PD2(SD)
The deck will output a 1080i 29.97 (Nitrous or DSversion10 will see 59.94 1080i) from a 23.98 1080Psf master

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

call me at the office and maybe we can look tomorrow
doug

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Also check your ref to the Kona and the dBeta. if the Kona is on free run set the dbeta to input video (out ref). You should not have to set the timing

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

why are you using qt conversion. Just export “use current setting”
If you need to generate other formats drop your export into compressor, it’s much cleaner and faster on a multicore machine

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Do you have a capture card on the station you are using? If it’s a Kona3 you can letterbox on output using the SD>SD panel = letterbox. so you preserve original framing throughout and upon “edit to tape” or monitoring as you cut you are seeing the output you want to deliver.
Build your audio tracks so they make sense. VO on 1 (or 1,2 if stereo) bed on 3 blah blah.
by control clicking or right clicking on the track icons in the timeline you can assign the output of each track. your sequence needs to be set up for a dual mono output (sequence settings)
I often cut everything stereo then in the browser duplicate sequence and name it accordingly then do my track assigns. Usually they will want other deliverables DVD h264 etc and this workflow makes it easy to deal with.
in FCP the transitions themselves are the effect themselves like wind blur, flash frame etc. If you find one you like copy into the favorites bin in the effects window and you can drag it from there to the timeline any time. watch out for excessive levels with some effects (over 100 IRE). there is no effects layer in FCP it’s clip by clip. Nesting in FCP won’t track events so your EDL is boned. down and dirty if you can’t get all of it legal, export video use current settings bring it back in on top of a timeline and legalize that

Not sure what you mean by lines but boris 3D (video generators) is the best text generator on board and repeated underscore otherwise photoshop. motion if you want but it’s slow. photoshop or AE is much faster

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

24P DV is 29.97 on tape. HVX in SD on tape is DV
injest DV/DVCpro NTSC anamorphic. firewire basic for the canon

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Soundtrack pro like many audio programs allows you to have stereo/mono/5.1 elements inside 1 track. The notion of track is symbolic try to think of it more as a container so you don’t have to edit individual pieces that belong in sync and possibly in mix with each other.
In FCP each track is a track, not symbolic, but equating to a VTR. thus you have the ability to link as stereo with pan or keep as mono or dual mono depending on the source of the track, field audio or mix audio basically.
To do what you want properly with the ability to access individual elements you will need all tracks as you fear

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

all outputs are active.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN