[John Pale]

[Bret Williams] “Anyway, it used to be that if you copy’d and pasted that it made a new iteration, but if you option+dragged it kept the connection to the one in the browser. Very nice if you can keep up with it. In fact, it might have been the other way ’round. However, last time I checked they broke it and now option drag or copy and paste makes a new iteration. So be careful in future versions. You could end up making changes to what you think is a copy, but isn’t. “

Yeah. This is a rather dangerous feature as presently constituted. They should probably eliminate the whole copy/paste exception and add a checkbox to the nesting dialog to decide whether the nest updates in all instances or not. The dialog would then appear upon creation of a nest under all circumstances…would slow some people down a bit, but prevent a lot of confusion.

[John Pale]

Thats so you can animate elements on individual layers. (you have a PSD with layers)
Flatten the image in Photoshop if you dont want this behavior.

[John Pale]

[Paul Dzurec] “All the footage is in Quicktime.”

I know….I was talking about the Avid Quicktime Codec.

anyway…there are some codecs that FCP does not like. glad you got it to work in premiere.

[John Pale]

[chris] “Your deck will insert edit. Our AJ-D650 will also, I just haven’t got it to work w/ FCP. We used to insert edit all the time W/Media100 or In Sync Razor. But 4 some reason FCP won’t do an insert with these DVCPRO deck, none that I have seen anyway. Just assemble edit.”

Make sure you switch the RS422 protocol to Panasonic (default is Sony) in the capture settings.

[John Pale]

I am not sure how to help you, but I think this passage in the FCP manual explains what is happening…

If your video capture codec does not support Y?CBCR processing, your video is
processed in RGB color space. 8-bit RGB video spans 0 to 255 like Y?CBCR, but black is set
to 0 and white is set to 255. In other words, RGB has no headroom, or extra bits, available
to record super-white values. A Y?CBCR level of 235, which is considered white, is mapped
to 255 when converted to RGB. However, what happens to the super-white levels such as
236, 240, 245, and so on? When converted to RGB, all these super-white values are
mapped to RGB 255, which has the effect of flattening all the subtle brightness
differences to a single white value. The result is sometimes referred to as luma clamping,
or clipping. Visually, clamping appears as a loss of details in the highlights of the image,
and a subtle darkening of the brightest values. When Final Cut Pro renders Y?CBCR media
in RGB color space, images with super-white luma levels (101 to 109 percent) are clamped
to 100 percent. This effect is most noticeable when using a transition, such as a dissolve,
between two clips. The super-white areas of the clip that

[John Pale]

What codec is the footage in?

I have seen this happen when using footage in the Avid Codec in an FCP timeline.

[John Pale]

Digitize at 29.97. Use Cinema Tools to remove the pulldown.

[John Pale]

Digitize at 29.97. Use Cinema Tools to remove the pulldown.

[John Pale]

The Avid Codec has not been updated for Universal Binary yet. Thats whay it does not work on the Mac Pro.
Use Animation.

[John Pale]

You can do it in Compressor 1 too….just use the AIFF audio preset from any of the DVD templates.