[John Pale]

“On Mac OSX v10.7 (Lion), Premiere Pro would crash when quitting.”

This is NOT fixed either. Still cannot use under Lion, as the project gets corrupted when this happens.

[John Pale]

Yes…and to be clear…to others, besides the original poster…

You need to have an Apple Pro video app to ENCODE to Pro Res. The decode ability is built into recent versions of Quicktime.

You can install Motion 5 or Compressor 4 ($50 each) to get the Pro Res encoder. You don’t need FCPX or FC Studio.

[John Pale]

[Mattias Johansson] ” “too bad you can’t export an aaf, OMF:s always means trouble and never really works properly”, which really doesn’t help me… :(“

Actually, you can export an AAF. Send your Sequence to Soundtrack Pro (or just import the OMF you exported from FCP..would be a good way to see if the panning is there). Export an AAF from Soundtrack Pro, which has that capability

[John Pale]

The 5D and 7D do not have time code, so doing an offline/online is treacherous, to say the least.

Just use AMA to open the clips, then transcode to DNX 220 (or 145…220 might be overkill for it). Throw storage at it and work at online quality.

[John Pale]

Custom views are a user setting. How did you migrate your User Profile to the new machine ?

[John Pale]

Were you doing anything else when the media was encoding?

Looks like some sort of corruption. That’s a frame grab from Quicktime Player, right? That means those dots are really in the encoded media. No fix for that, other than re-encoding. Make sure they are not in the original H.264 files, before re-encoding.

Using Streamclip, you have no timecode, so there is no way of really automating it.

[John Pale]

That is most likely an HDV clip. Did you try an Easy Setup for HDV ?

Don’t set everything manually. Use an Easy Setup.

[John Pale]

Weird problem. Call Avid tech support and see what they say. Do you have a support contract? It’s really a must, with a Unity system, as debugging and troubleshooting can be a bit of a bear for most regular humans.

[John Pale]

Yes. It is a huge step backward. You should be looking at a replacement for FCP 7, as it is essentially a dead product, and does not meet your needs. FCP X may grow into being a robust product, but I cannot recommend it for your workflow at this time.

Based on what you described, You should be looking at Premiere Pro, which does not require transcoding, and has better metadata support. Adobe offers a fully functional 30 day demo of their suite.

[John Pale]

Edit in PAL. Use the ProRes 422 preset in Compressor. (You don’t need HQ for this)
The preset will base everything off the source resolution and frame rate, so go to the Geometry Pane, and change the Frame Size to 1920 x 1080, and change the Pixel Aspect to Square. You may wish to go to the Frame Controls and change the Resize to Better or Best, however for this type of scaling, it will probably be unnecessary.

After editing, send your master out to a dub house to be converted to NTSC for delivery. Find one that uses an Alchemist, if possible.

If this is a no-budget thing, you can export your final PAL timeline as a Quicktime and bring that into Compressor. Then use the Pro Res preset once again, but change the frame rate to 29.97. Then go to the Frame Controls and set the Rate Conversion to Best.

Again…for broadcast delivery, I do not recommend software standard conversion unless this is a zero budget production. You will get the best quality using hardware made for the task.