[Doug Metz]

[Bill Davis] “Also, fonts are an area where its super easy to get a rogue bad file – particularly if like me, you’ve been computing for a long, long time and have accumulated a mountain of fonts from a huge variety of font development eras. “

This point cannot be overstated. Fonts can cause big trouble in a heartbeat…
I think your first step is to verify and / or repair every font on the affected system(s). Will probably clear up peculiarities with other apps as well – just watch out for that Microsoft Office font folder!

Doug Metz

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[Doug Metz]

[Michael Hancock] “Or I can “Open clip in timeline” and add the new audio there, but that’s changing the master clip and that’s dangerous, isn’t it? I remember reading about people opening a clip in timeline and deleting audio and not being able to recover it without reimporting the original clip.”

On this train of thought – you could add the new audio, and simply disable the original audio instead of deleting it…

Doug Metz

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[Doug Metz]

Additionally, could you post a still image from a source clip, with a matching still from the compressed output file?

Doug Metz

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[Doug Metz]

Hi William,

No flames on this forum, we’re professionals! ;^)

I haven’t worked with Android video, but I can tell you that the iPhone shoots square pixel, and your still images should also be square pixel.

If your Android video isn’t square (perhaps 1440 x 1080), and your first clip in the timeline was an Android clip, I can envision a scenario where your timeline is set that way. There are a couple of ways to work around this:
1. Export a master file in ProRes from your timeline as-is. Then set up a 1920×1080 preset in Compressor, ensuring that you manually set the aspect to Square Pixels in the Video tab.

2. Rebuild your timeline, starting with either a gap clip or one of your iPhone clips to ‘bake in’ the square pixel setting – you can delete this after you have other media in the timeline. I’m unaware of any way to change the pixel aspect of a timeline after the fact.

Doug Metz

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[Doug Metz]

Hi James,

You would use the Retime function for this. When you choose 100%, one second = one second, regardless of framerate – this is what FCPX does by default when you’ve got an established framerate in your timeline.

There may be times when you want to play all frames of an unmatched clip – let’s say you’ve got a 23.98 timeline and you want to use a 59.94 clip in slow motion using all of the clip’s frames. In this case, you’d select your 59.94 clip, and check Automatic from the Retime menu.

Doug Metz

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[Doug Metz]

Brings a whole new level of thinking about Cloud Services…

Doug Metz

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[Doug Metz]

I was able to attend the entire Summit. Had a wonderful experience.

The SuperMeet was a blast – nice work on the raffle, Bill!

Doug Metz

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[Doug Metz]

You can work with alpha in FCPX regardless of project setting, but if you need your output file to retain transparency for compositing elsewhere, then you’d set the project to ProRes4444.

Doug Metz

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[Doug Metz]

I’ve been using ClipWrap to re-wrap (and sometimes transcode to ProRes) if I’m not ingesting directly…

Do you still have the entire card structure, including the PRIVATE folder?

Doug Metz

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[Doug Metz]

Two questions:
1. Are the Share options greyed out in the File menu as well as the right-side button?
2. Is it an issue with just this one project, or any project?

Doug Metz

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