[Nick Meyers]

it seems like it should be possible to add a “Source” column to a batch list,
but FCP doesn’t play along.

there would be ways to automate the re-creation of the subclip using QuicKeys,
but it would take at least a coupe of hours to work it out and perfect the workflow.

Andreas Keil of Spherico Film Tools might be able to work out a method using XML.

i really wish there was a way that FCP could treat an existing file like a tape deck.

nick

[Nick Meyers]

if you still have a Master/Affiliate relationship working,
then you can colour the clips you’ve put in the timeline,
and the browser clips will adopt the colour, too.

Option Apple 2 thru 6 will colour selected clips.

nick

[Nick Meyers]

for what it’s worth, Boris now has an up-rez filter in it’s Continuum package:
https://www.borisfx.com/product/continuum/final_cut_pro/uprez_filter.php

nick

[Nick Meyers]

FCP uses file names to connect clips to media.
it cant easily see beyond that and simply look for reel# and TC in a media file.

you CAN do what you want, but you just have to obey the “rules” and go with the way FCP works.

Media Manage your show using the COPY mode, to create a new set of trimmed off-line res media.
you can create an OFFLINE version of this same sequence, and batch capture into that.
problem is that when you MM, the files have one name, and the clips have another (good one apple!)
in FCP6 you can use the “conform file names to clips names” or “conform clip names to file names” function to fix this before you create the offline sequence for recapturing your HD

when you continue editing, you have to use the trimmed off-line version, so all the names match.
if you need a new shot, by all means cut that in,
and then you’d need to re-capture that in HD down the track

another, more reliable approach would be to create the offline HD version first,
capture the full-res,
then use Media Manager to recomposes all that new media to your off-line res.

continue your edit in the re-compressed version.

neither off these methods go hand in hand with your need for speed and efficiency.

nick

[Nick Meyers]

i’ve had problems reconecting clips that are slo-mo, too.
they werent fom hige files, so at least the clips were close to what htey were supposed to be.

the best way to work is for both systems to be set up exactly the same,
with the media in exactly the same file path, and for the DRIVES to be named the same
this way, there should be NO RECONECTING needed. the projects should just open and find the media.

hope that helps,
nick

[Nick Meyers]

what i’ve done in the past is to nest the section, then de-interlace the nest.

i remember one time i used the “Strob” filter set to 0.5
seem to recall my graphics came out sharper than if de-interlaced.

nick

[Nick Meyers]

given the way TC works in FCP, i cant see this happening.
but what do i know.

can other apps do this?

[Nick Meyers]

then the second thing you need to understand is that to get around the first thing,
you burn the track to an audio CD,
then import it back.

simple

nick

[Nick Meyers]

David means “f” for MatchFrame.

if your video has no effects on it,
then it’s best to overwrite video and audio,
as you get linked clips.

so its f,F10, f,F10, f,F10 etc. etc.

nick

[Nick Meyers]

i have hard that a “Save As” is supposed to “re-invigorate” the links in FCP between clips and files.
not sure if it’s true,
but if it is, it makes sense to do a save as every day.

some people work like this all the time,
but personally i don’t like having a new project every day. i wind up with hundreds of capture scratch and render folders. (FCP creates a new set of these for every project)
so a possible solution would be to “save as” as a dated back up,
then “save as” again as the original name.

this wouldn’t FIX already broken links,
but it’s supposed to help stop them breaking in the first place.

nick