[Misha Aranyshev]

I don’t think the problem is to redraw timeline. I think the problem is to redraw audio waveform. The size of cache FCP keeps waveform in is quite small and reading from there isn’t that fast. I used to put onto the RAM disk back under System 9 and still felt it is slow.

[Misha Aranyshev]

[Baz Leffler] “Here is a useful tip”

Thanks. I don’t use mouse while cutting though.

.[Baz Leffler] “how I can apply individual audio track names other than just numbers? “

With a strip of masking tape on your mixer and a marker. If you mean naming audio tracks of the FCP timeline — you can’t apply names. You can’t apply numbers either so I think you are talking about some other application.

[Misha Aranyshev]

Do not select, just park playhead over the clip. Type x. Do not hold any modifier keys while typing. FCP will set IN to the head of the clip you are parked on and OUT to the tail. Type f. Do not hold any modifier keys while typing. FCP will match frame to the original clip in Browser and load it in Viewer. Hold command and type j. FCP will open speed change dialogue box. Fill in desired percentage of speed, hit Enter. Hit F10.

[Misha Aranyshev]

Set IN on the timeline to the head of the clip
Set OUT to the tail
Match frame
Change speed
Overwrite

The shortcut sequence is x, f, Command-J, enter value, F10

[Misha Aranyshev]

[David Roth Weiss] “Those who are used to it will in fact argue in favor of rippling the timeline til the Cows come home.”

I won’t waste time arguing. I know how to change clip speed in FCP with and without rippling. It doesn’t involve copying. The tip is posted here regularly:

x, f, Command-j, percentage, F10

[Baz Leffler] “Have I missed something in my 35+ years of editing?”

A few useful FCP technics, obviously

[Misha Aranyshev]

[Alfred Guzzetti] “But I need to be able to make (among other things) an interlaced tape and DVD.”

Tape isn’t a problem since FCP can insert extra fields on playback. For DVD you will need a Standards Conversion plugins by Graeme Nattress.

[Misha Aranyshev]

[Kevin Monahan] “The data tape will not play back, you can just jog-shuttle through the frames”

Yeah, right. HDCAM SR tape even at 880 megabit/sec is less than half the bandwidth needed for 2k DPX. Jog/shuttle is good enough.

[Misha Aranyshev]

[Kevin Monahan] “use HDCAM SR tape to store those .dpx or cineon files as data. The advantage would be a storage format with frames you can actually view (unlike LT03 tape or the like).
“

Do I read it right? You can record .dpx to HDCAM-SR over Ethernet and when you play this tape you see the picture?

[Misha Aranyshev]

Regular video and audio inserts with CineWave (remember?) to BVW70, DVW500A, DVW2000 and MSW2000. Decklink to DSR1500 and BVW75. All over SDI, including BetaSP ’cause one of them was that rare model with SDI, and with another I used DigBeta as a DAC because CineWave analog BoB was crap. Once I even did an insert from Aurora Igniter onto a BetaSX tape. That was weird, because the shot on tape became 1 frame longer and it was a frame that did not existed in the FCP clip.

[Misha Aranyshev]

So you realized you don’t know how to edit a film originated feature in FCP after a month of work? Sorry for being harsh but that’s how it sounds. FCP is not Avid at a quarter of the price but a very different app with a very different workflow.

After you resample in ProTools — restamp. That means PT or some other app should write 48kHz into the header of the file. It is fast and probably automated in the right utility. What you should’ve probably done with your sound dailies is not to be a TDM-hardware-is-the-only-way snob and to slow them down in FCP to the desired amount, then batch export everything with Render Setting set to Best.

You may lose Audio TC going this way but Audio TC is useless anyway unless you got it in telecine logs via Aatoncode. Why are you importing telecine logs into CinemaTools and not directly into FCP?