[Kim Rowley]

When I experience this phenomenon (also with freeze frames or images on which I apply a speed change) I drop the deinterlace filter on top of the clip, render and it usually works fine.
Just my experience while waiting for one of the big guys or gals get back to you with a better answer.

Dual 2.7 GHz G5, 4GB RAM, ATI Radeon 9650, Xserve RAID, AJA IO, 2 20″ Cinema Display, FCP 5.03, OS X10.4.3

[Kim Rowley]

I suppose you know about the “show duplicate frames” in the timeline feature. I know your question referred to bins and not the timeline, but with this feature activated at least you can avoid using the same shot twice in your program. I asked your precise question once and I was told that there is no feature like that right now on FCP. I’ve added it to my wish list.

[Kim Rowley]

Fantastic. You really came through and saved the day. (As usual!) I’ll do as you suggest. I’m sure it’ll work fine. Thanks again

[Kim Rowley]

Thanks Floh. I have a friend who can do the deinterlacing with After Effects who works in a studio not far from me. I don’t have After Effects installed on my M100. To ensure the highest quality how should I export the file. “By reference” as you suggested wouldn’t work in this case. Thanks a million.

[Kim Rowley]

I always work in the PAL 10 bit uncompressed world and have always had “judder” with slo-mo. I don’t know the difference between the 2 kinds of judder you mention. The only thing I DO know is that if I pop on a deinterlace filter and render the clip, the judder goes away…
If you get any better answers at IBC let us know!

Dual 2.7 GHz G5, 4GB RAM, ATI Radeon 9650, Xserve RAID, AJA IO, 2 20″ Cinema Display, FCP 5.03, OS X10.4.3

[Kim Rowley]

Thanks to all for your input. It’s all pretty interesting. I would have thought as Rennie, that ingesting DV straight through firewire was “better” looking. My evaluation is my eye at this point, not waveforms or mathematical equations – but I was surprized by my “real world” results. The bottom line is I think I’ll go ahead as always when I have to mix DVCam and Beta footage which is also the workflow Walter also suggested. If the job instead originates in DVCAM I’ll use common sense and probably go firewire to save on disk space. My DVCAM VTR does not have component outputs. When I chose the DSR 25 I did so knowingly. The need I have for the DVCAM at the present didn’t warrent the added cost of the component possibility. And the fact that this machine -like the DSR 11- reads and records NTSC and PAL was a more important feature for me. There’s always a trade-off somewhere. The important thing I think is knowing what you’re trading and making thought-out decisions.

Thanks Walter too for the subtle correction of my terminology. I did indeed mean S-Video output.

Dual 2.7 GHz G5, 4GB RAM, ATI Radeon 9650, Xserve RAID, AJA IO, 2 20″ Cinema Display, FCP 5.03, OS X10.4.3

[Kim Rowley]

I don’t have an answer but if it’s any consolation I too have problems “roundtripping” from FCP to Motion.
What I do is create my clip (or sequence) that I want to use as an element(s) in Motion and then Export it as a high quality QT file. I usually create a folder for graphic elements so they’re easy to find in Motion.
I import those files into my Motion project, do my graphic then export a QT of the finished composite at the same quality as my FCP project (I usually work in Uncompressed 10 bit.) I then import that file into FCP – which since it’s a video clip – needs no further rendering. I’ve found this to be more convenient in that I don’t have to re-render that every time I trim or touch it or change the length of a transition! This is the method I used also with M100 and Boris FX. It’s a lot less stressful working with the QT files as opposed to the Motion file.

I haven’t seen quality loss doing it that way. (I lay off to DigiBeta).

This might not help but lets you know you’re not alone.

Dual 2.7 GHz G5, 4GB RAM, ATI Radeon 9650, Xserve RAID, AJA IO, 2 20″ Cinema Display, FCP 5.03, OS X10.4.3

[Kim Rowley]

OK, I’ll do as Jerry suggested and send them through the “feedback” menu option.
I’ll add:
– easier way to delete markers (like in Motion with a puff of smoke)
– timeline that follows CTI
– fix of a little bug I found: if I have two sequence timelines open and I drag one of the timelines onto the other screen to have them side by side, then if I click on the timeline of the moved sequence the canvas doesn’t reespond but rather stays stuck on the picture of the timeline that is on the same physical screen. (Gosh, that sound more complicated in writing than in doing!)

Hopefully Apple will do something. These are very basic requests that would surely help lots of editors out there.

Dual 2.7 GHz G5, 4GB RAM, ATI Radeon 9650, Xserve RAID, AJA IO, 2 20″ Cinema Display, FCP 5.03, OS X10.4.3

[Kim Rowley]

Darn! I’ve got a little pad on my desk where I’m creating a very practical wish list. And I’d absolutely love for those poster frames to be bigger…

Another one of my major beefs concerns the log and capture naming scheme. Aside from being able to name clips while digitizing, I would love the names of the newly generated media files to be dependent on timecode as opposed to clip name. That is a big stumbling block in my work flow.

What’s the most effective way to submit requests it to Apple?

Thanks again… And to think that sitting at my desk this morning in Rome Italy I get such a quick reply all the way from California. Kind of makes up for the disappointing answer. Long live the creative cow!

Dual 2.7 GHz G5, 4GB RAM, ATI Radeon 9650, Xserve RAID, AJA IO, 2 20″ Cinema Display, FCP 5.03, OS X10.4.3

[Kim Rowley]

Thanks Jim, think of it this way… dumb questions like this give you material for your training sessions…Thanks too for the great DMTS Motion 2 tutorial which I bought (but I guess you now have evidence that I haven’t finished working through it.) I must say that I really love Motion, and generally enjoy myself with it.
Cheers!

Dual 2.7 GHz G5, 4GB RAM, ATI Radeon 9650, Xserve RAID, AJA IO, 2 20″ Cinema Display, FCP 5.03, OS X10.4.3