[Nick Meyers]

thanks, MIchael.

nick

[Nick Meyers]

ah, all is clear.
even your original DVPAL would look squished on export.

as your final version is for the web, you might be best to work in that larger sequence size.

yes, ProRes should handle graphics better that DV.

when working at Standard Def, i found adding the flicker filter set to max to text helped a lot.
actuary, the filter i used was the free “Blend Fields” filer from Too Much Too Soon,
but the flicker filter set to max does the same thing, i believe.

as you are making product for the web, de-interlacing may also be the way to go.

i don’t think you would get good results setting your sequences to Fields = None (but you should try that)
the best tool for de-interlaceing i found was the Nattress Smart De-interlace plugin
better than the FCP filters.

nick

[Nick Meyers]

as John has stated this has got nothing to do with file paths,
this issue is about management WITHIN FCP.

the bad news is once you have lost the Master / Affiliate relationships, they are gone forever,
so as someone mentioned your best bet is to go back to an older project,
and re-build it to your current state.

John also said
“Dragging or copying a sequence into a new project breaks the master clip/sequence clip relationship ”
however, that has NOT been my experience.
in fact i have often copy a sequence out into a new project, done some work on it, and copied it back,
and the M/A relationships are re-established.

i work with assistants in this way all the time.
SOMETIMES the links break. USUA: they do not.
i really with i knew what it was that broke them.
this is something i really try to keep on top of.

actually, i have discovered a few things that will break the M/A relationships:

1
copying a bin of clips and a sequence with the same clips from one project to another.
breaks the links.
solution: copy the bin, and sequence separately.
same goes for multiclips
you have to copy clips, multiclips, and sequences all separately.

2 (discovered this a few months ago)
using “Add to Find results” in the search tool also breaks the links.
who knew? i found out the hard way.
solution: dont use it. do separate searches.

3
????
i dont know
there are probably other reasons. i lost some connections passing between my assistant and myself a couple of weeks ago.
maybe he wasn’t doing things right, maybe something else happened.
i just re-built his sequences from my master clips, and got on with it.

bottom line: FCP is flakey with Master Affiliate relationships,
if you wrk hard you can maintain them,
but you need to keep your fingers crossed at the same time.

nick

[Nick Meyers]

as David says,
simply changing the codec should have worked,
you must have changed to a different sequence preset, and NOT chosen anamorphic one.
or maybe you copy/pasted your timeline contents into a new sequence that was not anamorphic.

nick

[Nick Meyers]

MIchael: “I would leave FCS3 with SL at 10.6.7”

hi michael,
is there a reason not to go to 10.6.8?

thanks,
nick

[Nick Meyers]

changing or adding reel#s in FCP is very easy, too.

as you have locked off and tidied up your timeline, it;s even easier
copy your timeline/s into anew project,
select your sequences, and go to TOols Menu > Create MAster CLips.

this will give you a more manageable collection of the clips you have used.
in the browser, sort by the “Type” column, and the “tracks” column to help you organise those clips into video, audio & graphics bins.

then dive into the Reel column and start naming things.
if you want to give specific reel#s, then the “Source” column might help you.
if you cant be bothered, and just want to give any old reel#, then add a generic “REEL” (or whatever) to one clip,
then select all reel-liss clips, (sort by reel column) right click on one,
and chose the new “REEL” reel from the list.

nick

[Nick Meyers]

“with the OMF just appears the name of the merged clip and the TC from the sequence”

i can understand the NAME of the merged clip appearing,
but the TC of the sequence?
that’s just weird.

anyway, did you follow the steps in the guide i wrote above?

nick

[Nick Meyers]

my deadline precludes me from watching the 11 minute video, sorry. 😉
BUT
there are a couple of free filters you can get for FCP that can do a much better job of lifting dark areas than the Colour Corrector.

one is Lyric’s Shadow Highlight:
https://www.lyric.com/fcp-plugins/#shadow

the other is a curious trick i discovered
Download the free Too Much Too Soon filers;
https://www.mattias.nu/plugins/

use their Diffusion filter,

use these settings:

Type: Uniform or Shadows (Defines what you want to lift)
Amount = Zero (that’s no diffusion at all)
Opacity = 100%
Mode = Add

this is basically like using the “Add” Composite mode on a clip layered on itself, but neatly contained in one filter.

cheers,
nick

[Nick Meyers]

“I thought I had done this last time, but apparently failed to do it correctly.”

maybe you need to ask for a new project.

in Media Manager use these settings:
Media: Copy
Delete unused: up to you, but for a reel, my guess is you DO want to delete unused
Handles: if you DO delete unused, then DO add handles

if you Delete unused, you have to ask for a new project, as your old timeline will not be able to connect with the new trimmed media.

nick

[Nick Meyers]

its really very simple.

in the browser, copy the name of an off-line clip.
do a search (apple f)
paste the clip name into the search window, and do a FIND ALL

find all will bring up the clip, plus sequences that the clip appears in.

what doesn’t work is to do a search for all offline media
that only brings up the clips, not the sequences they are used in,
so you have to precede one off-line clip at a time.

nick