John Pale
Forum Replies Created
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If you get a second computer w/o FCP, you can use the additional license on it, instead.
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If you have FCP, you have Quicktime Pro (which adds no additonal options to anything FCP does). Quicktime Pro enables all the editing, capture and export functions from Quicktime Player only. It only affects the capability of the Quicktime Player.
If you have FCP 5.x, your Quicktime Pro license is activated automatically. If you have an older version of FCP, you received a license key to enter along with your FCP serial number. You dont need to buy the Pro option on a computer you have FCP installed on.
Once again…you get no additional capability from Quicktime Pro within FCP and if you bought a Quicktime Pro license, you wasted your money because buying FCP gets you a key for free.
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I think this is actually not new. This has been an optional preference setting for a while. Yours somehow got turned on without you knowing. Mine stayed off (which is fine, because I almost always work in 10 bit uncompressed).
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Cheers Bob
It actually wasnt that obvious that that might be in the manual. I just remembered it being there because I read it recently.
I just checked out the Ken Stone article Don suggested and its even better.
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The drawback is not only the render time (not bad on a fast machine) but also the disk space…the render file will be the size of your sequence in uncompressed…that is in additon to the original DV file size. For long projects, thats a significant amount of drive space. Depending on your workflow, digitizing and editing in uncompressed could use less space overall, and not require any rendering. That’s the advantage of going that route. It depends on the project and your workflow.
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if you are unfamiliar with using the “limit effect” controls and secondary color correction, you should go back to page 477.
This isnt intended as RTFM advice…its just that the manual explains it very well and I can’t do it any better.
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Go to this page in FCP Help:
Volume III page 482
“Example: Using the Limit Effect Controls to Isolate a Specific Color Against Grayscale”This gives step by step instructions to do what you want.
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Late-Breaking News About Final Cut Pro 5.1.1
Final Cut Pro 5.1.1 optimizes application compatibility on specific hardware and fixes
critical bugs.
Real-Time Processing on Intel-Based Macintosh Computers
Final Cut Pro 5.1.1 resolves a real-time processing issue on Intel-based Macintosh
computers.
Intel-Based Macintosh Canvas Display Issue Resolved
Final Cut Pro 5.1.1 resolves an issue with display errors in the Canvas window on Intel-
based Macintosh computers.
Issue with Import Panasonic P2 and 720p/24PN Footage Resolved
Final Cut Pro 5.1.1 resolves an issue in using the Import Panasonic P2 feature with
720p/24PN footage resulting in duplicate frames in rendered sequences. -
The timecode is retained if you export as Quicktime Movie, but you lose it if you do Quicktime Conversion.
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“I’m using mp4 footage (it’s for a private function and some of the content has been ripped from wildlife dvd’s). The original easy setup settings were configured for dv pal anamorphic”
Whoa. No wonder you are having trouble. You ripped DVD’s into mp4? Then you put them into a PAL DV timeline?!! Sounds like you are doing the mother of all conversions…no wonder its taking forever. (On top of that, your scratch disc is a network drive, which could slow things down even further, unless you have some sort of XSAN setup) Next time rip your DVD’s into DV footage using MPEG Streamclip or DVDxDV and put them in a DV timeline. (if your DVD’s were NTSC and you want to make them PAL, that adds another layer of complication..you need to convert your footage to PAL first)
Then export a Quicktime reference movie and convert to MPEG2 using Compressor.I dont know any easy answers for you to make your deadline. Sorry to beat you up when you are down, but you have gotten this wrong on every level, and its not fixable without starting over and doing it right.