Martin Baker
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Here’s what you do, assuming that the camera in question has a different clip name to the other cameras:
1. Find the first clip of the camera on the timeline, double click it to open up in the Viewer and apply the desired filter.
2. Now select the Timeline window and press Cmd-F
3. In the Find field, enter some unique part of the camera clip name (e.g. if the clip was called “Cam 2B” then enter “2B”) and click the “Find All” button. All the matching clips will be selected in the Timeline.
4. Drag the filter from the Viewer to any of the selected clips and it will be added to all of them.
5. Remember to delete the second instance of the filter in the clip opened in the Viewer so it doesn’t get applied twice.Martin
Digital Heaven, London UK
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FWIW The lines at the top of 16:9 footage aren’t VITC, it’s the signal to say that it’s anamorphic. Either way just blank them out!
Martin
Digital Heaven, London UK
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Shift-L toggles linked selection on/off.
Martin
Digital Heaven, London UK
Unique plug-ins and tools for Apple Pro Apps
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Well I guess you could use the Distort tool to corner pin your clip into a particular position/scale. Just hit the D key then drag on the corners of the clip in the Canvas.
Martin
Digital Heaven, London UK
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Unfortunately you’d have to do it manually since the filenames have changed – FCP considers a file named “MyCapture” to be different from a file named “MyCapture.mov”
Martin
Digital Heaven, London UK
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It’s not possible to force this directly in FCP because of course Apple want you to encourage you to stay working in Mac applications 🙂
However, there are numerous apps which do batch renaming on files so you don’t have to do it manually:
https://tinyurl.com/lb34zMartin
Digital Heaven, London UK
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Sure, just double click the clip and adjust the Scale slider in the Motion Tab.
Martin
Digital Heaven, London UK
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Moving a clip up or down 1 pixel in the Motion Tab is not actually changing the field order. It is compensating for the dropping of a 480 line DV clip into a 486 line uncompressed sequence which is a different issue.
NTSC DV and NTSC uncompressed share the same Lower field order but if you were to position an NTSC DV clip at 0,0 within an NTSC uncompressed sequence then the images would go noticeably softer. This happens because there would be 3 lines of gap at the top and bottom of the sequence and because 3 lines is an odd number, all the rows of Field 1 pixels from the DV clip are now aligned with Field 2 pixels on the sequence. This results in a softening of the image because FCP is having to interpolate what the likely value of every pixel is rather than use the true original values.
However, if the DV clip is moved down by 1 pixel, the 2 fields on the DV clip now line up exactly with the 2 fields on the sequence because we now have a 4 line gap at the top of the DV clip and 2 line gap at the bottom.
If you edit (or paste) an NTSC DV clip into an NTSC uncompressed sequence (and the clip has a static position of 0,0) then FCP will automatically change the positon to 0,1 thus keeping the DV clip sharp.
Martin
Digital Heaven, London UK
Unique plug-ins and tools for Apple Pro Apps
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The short answer is that you can’t – it’s an unusual workflow and there is no built-in feature to do this. If the client had not started editing then the solution would have been to take the original captured file and create a 4 channel source clip by doubling A1 up to A2, A3 up to A4 so you have two “stereo” pairs which match with the original source tape and the online would have just worked automatically.
However…if the sequence has already been edited then be prepared for a lot of work BEFORE you start thinking about doing the online. Assuming you’ve only got 1 source clip (the previous master of the film) then you would have to create a new version of the DV clip which has two stereo pairs. This is possible within FCP by creating a sequence with 2 x stereo audio outputs, then editing the original source clip onto it so that the A1 audio ends up on A1 and A2 tracks and the A2 audio ends up on A3 and A4 tracks. You would then do a File > QuickTime Export (probably safest with self-contained checked) to create a 4 channel (2 x stereo) source file.
Then you would need to reconnect this new 4 channel source file to the 2 channel source clip in the Browser. FCP will display a warning that the tracks don’t match, which is fine.
Next you would need to double the number of tracks in your sequence by adding an empty track after every existing track. Then go through every audio clip that uses A1 as the source, mark the in/out points using Mark Clip, then matchframe back to the source clip (which is now the new 4 channel version), set the track patching and overwrite edit the now stereo clip to the same position as the original mono clip. Repeat with all the timeline audio clips that use the A2 channel.
Only when you’ve gone through the entire sequence and replaced all the audio, should you venture into the Media Manager and create the offline version for recapturing.
Martin
Digital Heaven, London UK
Unique plug-ins and tools for Apple Pro Apps
NEW! BigTIme – resizable timecode display for FCP -
Yes!
Martin
Digital Heaven, London UK
Unique plug-ins and tools for Apple Pro Apps
NEW! BigTIme – resizable timecode display for FCP