[Nick Meyers]

yep, that is all correct.

convert to Prores,
conform in CT to 23.976

it will have a slight slow-down.
you won’t even notice it on underwater footage

nick

[Nick Meyers]

in FCP, you can use Media Manger on a bin or sequence of the clips.

OR

in FCP you can Batch Export as QuickTime Movie, and change the settings on export

both will keep File name, TC & Reel#

we are all assuming you have the same FRAME RATE on both sets of media

cheers,
nick

[Nick Meyers]

yeah, here’s what you do (from memory, i did this ages ago)

you have to drag the EDITED NESTS from the timeline into the viewer. you can also select and hit return.

then you make a SUBCLIP (Apple U)

these “Sub Nests” will appear in the browser, in the same location as the master edit sequence.
it can help to put it in it’s own bin at the start of this process)

it also helps to do them in order, and if they don’t sort in order name them so they do,
you’ll see why soon.

the subtests will be just the parts you;ve used.
a possible gothca is if there is a cross fade WITHIN the nest right where your edit it,
then you’ll have problems, like it either won”t subclip or won;t open in the viewer (it;s been a while)

anyway when you have all the sub-nests, make a new sequence,
select al the sub-nests BAR ONE
now hold Apple (Command) also grab that last one, and drag the lot into the canvas / overwrite window,
they should all edit themselves into the timeline.
(that’s why they should be sorted correctly.)

cheers,
nick

[Nick Meyers]

maybe you need to get proper deliverables from the editor.
you need to get GUIDE pictures & audio,
that correspond to the OMFs.
sounds like you might have 6 spools, so you need 6 pic guides

make sure there is a sync pip on the head & tail of each of your 6 sections,
with a single frame of image & a pip on each and every track.

or is are the dense FCP audio work tracks into 2G OMFs vertically, not horizontally?
maybe you just need more information from the editor

if you are ok with FCP, maybe you should get the projects AND media, and prep this stuff yourself if the editor is an idiot.
(to be fair, i should say: “If the editor is the non-technical type”)

the audio filters in FCP are crap!
i cant comment too much in their audio quality except today that i’d be surprised if they are the best around,
but working with them would drive you crazy if you are used to more graphical interfaces.
(dont know if this is fixed in FCPX)

nick

[Nick Meyers]

“RED LINED” is a warning.
there is something wrong with your settings.
could be frame rate is off,
could be a dodgy codec (like H264 or something) oh, you say everything is PR422?
then frame-rate

have a closer look at your clip’s settings vs your timeline settings,
report back.

in theory working in a 720×480 timeline is the way to go
is it ALL red line?

nick

[Nick Meyers]

“I tried nesting but you cant adjust effects on nested items. What should I do?”

actually you can, but it’s not obvious.
double clicking on the nest just opens it in it’s own timeline,
to open in the viewer window do any of the following:

OPTION double click
select, & hit RETURN
DRAG it to the viewer

nick

[Nick Meyers]

Reconnecting:

the simplest solution to this is to not have to reconnect at all.
you can achieve this state if both your media and your co-worker’s are in exactly the same file structure on identical drives.
oh, the drives have to have the same name, too.

once you have that sorted, you should not have to reconnect aver again.

Master Clip:

this is very tricky.
it should work, but it is very fragile thing in FCP: too easily broken.

if it is broken, it can be hard to fix.

i have been having a similar issue, so here is what i have been doing:

say you have a sequence in an edit, and you now you have a bin of rushes for that sequence.
you should be able to Shift F, but it is not working.

so, copy the scene from your edit sequence in to a new sequence.
now find the bin with all the relevant rushes
edit all of these rushes into your new sequence, too.

you may want to get rid of any clips that aren’t really from your scene’s rushes.
like music or VO, or SFX, or titles, stills, whatever.

now delete the rushes bin.

select the sequence in the browser, and go to Tools Menu > Create Master Clips
you wil get a NEW BIN with all the clips as master clips.

check that this is working by trying a Shift F on some of the clips in the sequence.
another test is to colour the timeline clips and see if the browser clips also change colours
(or, vice-versa, colour the browser clips, see if the TL clips follow suit)
working? good.
name the bin and put it where it belongs

now try Shift F on the scene in your original sequence.
does that work?
if yes, then good.
if not, just copy paste the scene back from your “fix” sequence into your edit sequence.
try Shift F again.
working? good
not working? damn.
maybe you have some corruption in your edit sequence.
maybe you have to copy paste your entire timeline into a new sequence
maybe.. who knows what?

bad news is that maybe the problem cant be fixed.
i have had that happen to me.
it really is a weak spot in FCP

it will be particularly problematic with your partner working on their projects and you working in yours.
one thing i have noticed when working between a few projects:
if you copy / paste a bin of clips PLUS a sequence containing the same clips from one project into another,
then you break the Master / Affiliate links.

solution is to copy the bin and sequence separately

oh, and the obvious thing to mention: you can’t Shift F between projects.
wont work.
rushes and edits have to be in the one project

nick

[Nick Meyers]

just a quick note:

you say “Archive” in your post’s title.
but you should know that capturing your tape to Disk is NOT Archiving.
in fact a hard disk is a much less stable medium than the original DV Tape.

so DONT get rid of those tapes!
keep them, as they say, in a cool, dry place.

nick

[Nick Meyers]

you can can find your saved column layouts in…

hang on, you are saving your column layouts, aren’t you?
if not, the right click on the head of any column other than the main “name” column,
and chose “save column layout”
by default these will be saved in your Home Folder > Library > Preferences >Final Cut Pro User Data,
along with any saved window and keyboard layouts

so after saving, just navigate there and there they will be ready for e-mailing.
in later versions of OSX the only way to get to your library folder is to use the Go Menu in the finder,
AND you have to hold option down while you are there to make the Library folder visible.

as a safely precaution against any possible corruption that might happen whilst in transit, i would compress or archive them before e-mailing.

cheers,
nick

[Nick Meyers]

specific BINS, when opened in their own windows will maintain their layouts.

the BROWSER itself *may* be project dependant, not system dependant.
sorry, i’m not sure, you’d have to test it.

you can always e-mail your column layouts to another user if you wish.

nick